1960
Begins to work at the Museu Nacional as technical assistant to José Oiticica Filho.

Continues to work on the Série Invenções [Inventions Series] (1959-1962) and Núcleos [Nuclei], initiates his Relevos Espaciais [Spatial Reliefs] (1960) and begins to conceptualize his spectator participation projects.

Shows: August – IX Salão Nacional de Arte Moderna [8th National Exhibition of Modern Art], Museu Nacional de Belas Artes, Rio de Janeiro; November 21 – II Exposição Neoconcreta, Ministério da Educação, Rio de Janeiro; “Konkrete Kunst” [Concrete Art], organized by Max Bill, at the Zurich Helm Haus, Zurich.

Writings: November 26 – “Cor, Tempo, Estrutura.” Jornal do Brasil (SDJB) [Rio de Janeiro]. doc. nº 0015/60. AHO/PHO.

1961
Mário Pedrosa writes "Os Projetos de Hélio Oiticica".

Continues to work on the Invenções [Inventions] and Núcleos [Nuclei] series. He also makes Penetrable PN1 and the model for the Projeto Cães de Caça [Hunting Dogs Project], consisting of five penetrables by Hélio Oiticica, Ferreira Gullar’s Poema Enterrado [Buried Poem] and Reynaldo Jardim’s Teatro Intergral [Whole Theater].

Shows: April 27 – “Exposição Neoconcreta” [Neoconcrete Exhibition], Museu de Arte Moderna, São Paulo; November – Projeto Cães de Caça, Museu de Arte Moderna, Rio de Janeiro.

Writings: January 7 – Diary 61/65, doc nº0187. AHO/PHO.

1962
Continues to produce the Nuclei, which he classifies Small, Medium and Large.

Writings: December 1 – “A Transição da Cor para o Espaço e o Sentido da Construtividade” [The Transition of Color from Painting to Space and the Meaning of Construction”]. Habitat 70 [Rio de Janeiro]: 49-54; April 4 – “Testemunho” [“Testimonial”], doc. nº 002; AHO / PHO.

1963
Meets French photographer Desdémone Bardin (1929-2001). Over the next few years, she photographs the artist’s works and his everyday life with friends at both the Mangueira Hill shantytown and the Mangueira School of Samba court.

Conceives the Bólides, creating the first work of this series [B1 Box Bólide 1].

Writings: October 29 - “Bólides,” doc nº 1816/63 AHO/PHO.

1964
July 26 – José Oiticica Filho dies.

Sculptor Jackson Ribeiro introduces Oiticica to the Escola de Samba Estação Primeira de Mangueira [Mangueira School of Samba], where the artist becomes a fan and enthusiastic passista, or samba solo dancer. He frequents the shantyown community and strikes up friendships with Nildo, Miro, Jerônimo, Mosquito, Rose, Maria Helena, and many others.

After witnessing a remarkable scene in Rio de Janeiro’s North Zone – a precarious, improvised construction made by a beggar from four wooden slats, ropes and other elements, among which he makes out the word “Parangolé” written on a piece of burlap – the experience suggests to him the title for a new series of works he is developing at the time.

Death of Manuel Moreira (1941-1964), also known as Cara de Cavalo [Horse Face]. This famous outlaw had murdered Detective Milton de Oliveira Le Cocq after a four-month manhunt, having been finally shot to death by police in the city of Cabo Frio, State of Rio de Janeiro. A friend of Hélio Oiticica, the artist paid tribute to him in 1966 with B33 Box Bólide 18.

In addition to producing Bólides, he conceives the first Parangolé. The first three pieces of the series are a tent, a banner, and a flag. Parangolé P4 Cape 1 is the first color proposition meant to be worn on the body.

Writings: June 8 – “Os Bólides e o Sistema Espacial que Neles se Revela” [The Bólides and the Spatial System They Reveal], doc nº 0001 AHO / PHO; November 1 – “Bases Fundamentais para Definição do Parangolé,” doc nº 0035/64 AHO/PHO; 25 de novembro – “Anotações sobre o Parangolé,” doc nº 0070/64 AHO/PHO.

1965
June 15 – Receives a letter from Paul Keeler, a friend of Sérgio Camargo (1930-1990), inviting him to participate in a fifteen-artist show at the Signals Gallery, along with Soto, Cruz Diez, Gabo, Calder (1898-1976), Challida and Sérgio Camargo. Photographs of works and texts by HO appear in the Signals Newsbulletin.

The “Soundings Two” exhibition is held at the Signals Gallery, in London, from July 22 to September 25. In addition to Hélio Oiticica and the above-mentioned artists, the show features works by Albers (1888-1976), Arp (1887-1966), Brancusi (1876-1956), Pol Bury (1922-2005), Lygia Clark (1920-1988), Duchamp (1887-1968), Kandinsky (1866- 1944), Klee (1879-1940), Yves Klein (1928-1962), Malevich (1878-1935), Mondrian (1872-1944), Léger (1881-1955) and Mira Schendel (1919-1988), among others.

August 12 – The first public presentation of the Parangolé series takes place at the MAM-RJ’s “Opinião 65” exhibition – a breakthrough in the history of Brazilian art. There, Hélio Oiticica ignites tremendous controversy when he is forbidden to present the capes worn by dancers from Mangueira inside the museum. In furious indignation and to the applause of other artists, journalists, critics and the audience, the artist abandons the building and continues the parade throughout the museum’s gardens.

"Bases Fundamentais para Definição do Parangolé" [Cornerstones for a Definition of Parangolé] and "Anotações sobre o Parangolé" [Notes Concerning Parangolé] appear in a mimeographed artist’s edition on the occasion of the “Opinião 65” exhibition.

Meets Guy Brett (1942) and Paul Keeler who have come to Brazil for the eighth São Paulo Biennial (September/November). Keeler enters into agreements with Hélio Oiticica for an exhibition at Signals. The works are sent to London but the show never takes place.

Edited by David Medalla (1942), the Signals Newsbulletin for June/July displays the B15 Glass Bólide 4, "Earth" and B18 Glass Bólide o 6, "Metamorphosis".

December 22 – Begins to work as a telegraph operator at the Empresa Brasileira de Rádio Difusão (Radiobrás) [Brazilian Radio Broadcasting System].

Shows: September/December – Eighth São Paulo Biennial; July 22 – “Soundings Two,” Signals Gallery, London. August 12 – “Opinião 65,” Museu de Arte Moderna do Rio de Janeiro.

Writings: March 17 – “O Trabalho do Artista” [The Artist’s Task], doc nº 2080/65 AHO/PHO; May 6 – “A Criação da ‘Capa’” [The Concoction of the Cape], doc nº 2085/65 AHO/PHO.

1966
For his experiments in environmental art at the I Bienal Nacional de Artes Plásticas da Bahia [First National Visual Arts Biennial of Bahia], Hélio Oiticica is awarded a cash prize by the sponsor bank, Prêmio Banco do Estado da Bahia.

"Posição e Programa – Programa Ambiental – Posição Ética" is published in the July issue of Revista Gam, in Rio de Janeiro.

Makes B33 Box Bólide 18 – Poem Box 02 "Homage to Cara de Cavalo". Holds his first solo exhibition titled Manifestação Ambiental nº 1 [Environmental Manifestation no. 1] at Galeria G4, Rio de Janeiro. According to the artist, it "represents the environmental fusion of Nuclei and Bólides, to which elements such as the Reliefs that preceded the Nuclei have been added, because their sense of color might well have led them to be bolides." He presents the billiard room appropriation project titled Sala de Bilhar [“Snooker Room”], at the Museu de Arte Moderna’s “Opinião 66” show in Rio de Janeiro.

Shows: April 12 – “Supermercado 66” [Supermarket 66], Galeria Relevo, Rio de Janeiro; June 20 – “Manifestação Ambiental nº 1,” Galeria G4, Rio de Janeiro; July 25 – “A Vanguarda Brasileira,” Reitoria da Universidade de Minas Gerais; August 18 – “8 Artistas,” Galeria Atrium, São Paulo; August 25 – “Opinião 66,” Museu de Arte Moderna, Rio de Janeiro; December 28 – I Bienal Nacional de Artes Plásticas da Bahia, Convento do Carmo, Salvador.

Symposium: Proposta 66 [Proposal 66]. “Situação da Vanguarda no Brasil” [Situation of the Avant-Garde in Brazil]. Biblioteca Municipal, São Paulo.

Writings: July – "Posição e Programa – Programa Ambiental – Posição Ética" [Position and Program – Environmental Program – Ethical Position]; August 14 – “Parangolé Poético e Parangolé Social” [Poetic Parangolé and Social Parangolé], doc nº 0254/66 AHO/PHO; November – “Situação da Vanguarda no Brasil” [Situation of the Avant-Garde in Brazil], doc nº 0248/66 AHO/PHO.

1967
February 15 – Begins an intensive exchange of letters with Guy Brett, which leads to the negotiations surrounding the Whitechapel Gallery exhibition in London.

Conceives his Suprasensorial Propositions, presented at the Fourth Exhibition of Modern Art in Brasília and the Bólides of the "Trilogia Sensorial" [Sensorial Trilogy]. Introduces Penetrables PN2 and PN3 under the name Tropicália, exhibited at the “Nova Objetividade Brasileira” [New Brazilian Objecthood] show at the MAM, in Rio de Janeiro.

Designs Éden, a group of penetrables and suprasensorial propositions for exhibition at London’s Whitechapel Gallery in 1969.

Shows: April 6 – “Nova Objetividade Brasileira” [New Brazilian Objecthood], Museu de Arte Moderna, Rio de Janeiro; May – “Vanguarda Atual,” Escola Nacional de Belas Artes, Rio de Janeiro; May 20 – Ninth Tokyo Biennial; May 22 – “Happening – Parangolés no Aterro” [Parangolés at the Aterro Landfill], Aterro do Flamengo, Rio de Janeiro; September 30 – Fifth Paris Biennial; October 3 – “Artistas Brasileiros na Bienal de Paris” [Brazilian Artists at the Paris Biennial], Galeria Bonino, Rio de Janeiro; December – IV Salão Nacional de Brasilia.

Seminar: June 1 – “Declaração de Princípios da Vanguarda” [Declaration of Principles of the Avant-Garde]. Escola de Belas Artes, Rio de Janeiro.

Writings: April 6 – “Esquema Geral da Nova Objetividade,” in Nova Objetividade Brasileira (Rio de Janeiro: Museu de Arte Moderna), 5 -19; n/d – “Parangolé: Da Antiarte às Apropriações Ambientais” [Parangolé: From Antiart to Environmental Appropriations]. GAM 6 [Rio de Janeiro] 27-31.

1968
On display during Caetano Veloso’s concert at the Sucata night club in Rio de Janeiro, Hélio Oiticica’s “Seja marginal seja herói” [“Be an outlaw, be a hero”] banner is confiscated by federal Police, who shut down the concert.

Guy Brett’s Kinetic Art – the Language of Movement is published in London by Studio Vista/Reinhold. The book contains a chapter on Hélio Oiticica.

Meets Haroldo de Campos, at a lecture cycle titled Primeira Cultural [First Cultural] in Belém.

December 3 – Travels to London to mount the Whitechapel Galery show.

Continues to produce the parangolés, bólides and penetrables.

Shows: February 2 – “Young Brazilian Art,” Demarco Gallery, Edinburgh; April 9 – “O Artista Brasileiro e a Iconografia de Massas” [The Brazilian Artist and the Iconography of the Masses]. ESDI, Rio de Janeiro; December 1 – “Young Brazilian Art,” Brazilian Embassay, London; n/d – “Six Latin American Countries,” The Lively Midland Group Gallery, London.

Happening: February 18 – Festival das Bandeiras, Praça General Osório, Rio de Janeiro; August 4 – “Apocalipopótese,” an event conceived and produced by Rogério Duarte and Hélio Oiticica at the Aterro do Flamengo, with the participation of several artists, including Antonio Manuel, Lygia Pape, Sami Mattar, Raimundo Amado, Torquato Neto and dancers from the Mangueira, Portela, Salgueiro and Vila Isabel samba schools.

Films and film collaborations: Participates as an actor in the film Cancer, by Glauber Rocha (1939-1981); some of the artist’s works appear in Arte Pública, a documentary by Paulo Martins e Jorge Sirito; Raimundo Amado’s Apocalipopótese is a documentary record of the happening that took place at the Japanese Pavilion in Rio de Janeiro’s Aterro do Flamengo [Flamengo Landfill Park].

Seminars and Symposia: May 23 – Debate – “Critério para o Julgamento das Obras de Arte Contemporâneas” [Criteria for Pondering Contemporary Art Works], Museu de Arte Moderna do Rio de Janeiro; June 10 – Debate – “Amostragem da Cultura Loucura Brasileira” [“Sampling Brazilian Culture Madness”], Museu de Arte Moderna do Rio de Janeiro, event organized by Rogério Duarte (1939) and Hélio Oiticica; August 11 – “Primeira Cultural” [“First Cultural”]. Lecture series organized by Mário Schemberg (1914-1990), Reitoria da Universidade Federal do Pará, Belém.

Writings: March 4 – “Tropicália,” doc nº 0128/68 AHO/PHO; November 24 – “O Sentido de Vanguarda do Grupo Baiano,” Correio da Manhã [Rio de Janeiro]: 4; n/d - “O Aparecimento do Suprasensorial” [The Emergence of the Suprasensorial]. GAM 13 [Rio de Janeiro]: 39; n/d – “O Objeto”. GAM 15 [Rio de Janeiro] 26-27.

1969
Solo exhibition at the Whitechapel Gallery, in London. Art critic Guy Brett is the show’s curator and the artist names it “The Whitechapel Experience”.

Following the exhibition, Hélio Oiticica is invited to become a resident artist at Sussex University in Brighton.

May – Travels to Paris where his writing is published in Rhobo, an art magazine edited by Jean Clay.

Show: February 24 – “Hélio Oiticica”, Whitechapel Gallery, London.

Symposium: July 7 – 1st International Tactile Sculpture Symposium at California State College, Long Beach.

Writings: May 1 – “Obra Aberta.” Cadernos Brasileiros 5. [Rio de Janeiro]: 69-70; June 10 – “Statement: Hélio Oiticica” (addressed to the French representation committee at the tenth edition of the São Paulo Biennial), doc nº 0441/69 AHO/PHO; June 18 – “The senses Pointing Towards a New Transformation”. The 1st International Tactile Sculpture Symposium (Los Angeles: California State College Long Beach), doc nº 0486/69 AHO/PHO; September 11 – “Londocumento.” [Londocument] Última Hora [Rio de Janeiro]; November 10 – “As Possibilidades do Crelazer” [The Possibilities of Creleisure], doc nº 0305/69 AHO/PHO; s/d – “A Obra, seu Caráter Objetal, o Comportamento” [The Work, its Character as Object, Behavior]. Gam 18 [Rio de Janeiro]: 48-49; s/d – “Como Cheguei à Mangueira” [How I arrived At Mangueira], doc nº 1863/sd AHO/PHO.