Fig. 3.

(a) Lygia Clark, Bicho (Animal, or Beast), aluminum, 22 x 26 in, 1962.

(b) Lygia Clark, Hand Dialogue, 1966, shown with Clark's and Oiticica's hands inside the elastic Möbius strip. (Photos courtesy CDOC/Museum of Modern Art, Rio de Janeiro)

Clark's geometric Bichos needed to be manipulated by the viewer to reveal their organic nature and unfold their multiple configurations. After 1964, Clark softened her interactive Neoconcrete sculptures into dialogical propositions made of simple and ephemeral materials. These dialogical works already touched on issues that would later be central to bi-directional telecommunications artworks that explore the exchange (of sounds, images and words) between co-present and remote participants.

Lygia Clark and Hélio Oiticica

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