Born in Montevideo in 1946. Artist, researcher and cultural manager, he studied at the National School of Fine Arts and at the Faculty of Architecture at the University of the Republic. He studied engraving at Studio Camnitzer-Porter and with Swyetlan Kraczyna in Italy. He worked as a teacher at the National School of Fine Arts, at the Studio Camnitzer and at the Treinta y Tres and San José museums in Uruguay. He was curator in several exhibitions, among which those of the artists Uricchio, Spósito, Faedo and Ombú stand out. He was Plenipotentiary Intermittent Curator at Unión Latina in 2003, highlighting among others the realization of the exhibitions of Goldwasser, Cabrera and Cristiani. He exhibited in engraving biennials: Bradford, Cali and Lubljana, and in art biennials: Iº and Vª Biennial of Mercosur, II and V Biennial of Havana, Cuenca and Pontevedra. He obtained the Guggenheim Grant and the research grant from the University of Texas – Rockefeller, in 1999. He was a guest artist at Bellagio, Italy in 2001. He is co-author of the Memorial of the Detained-Disappeared, together with Ruben Otero and Martha Cohen, Rafael Dodera, Pablo Frontini and Diego López de Haro. He also obtained, among others, the First Prize in the National and Municipal Halls. In 2006 he received the Figari Lifetime Achievement Award. He was director of Plastic Arts of the Ministry of Education and Culture and Director of the National Museum of Visual Arts. Using approaches from Land Art, Arte Povera and a syncretic use of materials, he creates situations where irony and humor prevail. Demystify, generate doubts without abandoning a hint of nostalgia, are characteristic components of his work. His clearly anti-aesthetic attitude allows him to integrate the most diverse elements into his projects, as long as they are symbolically valid. His ability to "vernacularize" the approaches of international art manages to convert works, such as "Made in Uruguay" (1991-92), into a territorialization of the art of the land that becomes a loaf of grass resting on a table in the Café Sorocabana . That Montevideo coffee table that was a traditional gathering place for the Uruguayan intelligentsia, supports the lawn on which characteristic images of the country are recomposed, such as national symbols, past glories of soccer, the former livestock and agricultural wealth. The reading is made more complex by the number of local references that it uses, taken in a peculiar way to put together an imaginary of the national. Despite this, the work does not become hermetic, incomprehensible for those who do not play as locals, and codifying the elements in spaces different from the usual ones, allows approaching a reading not without irony on the subject of what is "the Uruguayan". Recycler, collector of minimal objects, discarded for being ephemeral, they are treasured by Sagradini. The objects that he recycles and places in an exhibition context are signs of our urban modernity.