1970
January 1 – Returns to Rio de Janeiro.

Travels to New York where he exhibits his Ninhos [“Nests”] at the "Information" show, curated by Kynaston McShine at the Museum of Modern Art.

Awarded a Guggenheim Foundation fellowship and establishes residence in New York City at 81, Second Avenue.

Show: June 30 – “Information,” Museum of Modern Art, New York;
Happening: August 23 – “Orgramurbana,” event organized by Luís Otávio Pimentel and Flamarion, at the Aterro do Flamengo, Rio de Janeiro, Hélio Oiticica shows his Area Bólide Água [Water]

Writings: April 21 – Text for the Information exhibition catalogue (New York: Museum of Modern Art), doc. nº 0324/70 AHO/PHO; September 4 – “Subterrânia” [From the Underground], O Pasquim [Rio de Janeiro], doc nº 0289/70 AHO/PHO.

1971
Show: November 29 – “Rhodislândia,” University of Rhode Island. Kingston, R.I.

1972
October 27 – Death of Hélio Oiticica’s mother Ângela Santos Oiticica.

Meets Quentin Fiori.

Shoots Agripina é Roma – Manhattan [Aggrippina is Rome – Manhattan] on Super 8mm film.

Shows: May 5 – "Exposição," Museu de Arte Moderna, Rio de Janeiro. Organized by Carlos Vergara (1941), at which Hélio Oiticica’s Projeto Filtro – Para Vergara [Filter Project – for Vergara] is presented for the first time; October 30 – “Metaesquemas,” Galeria Ralph Camargo, São Paulo.

Happening: “Encuentros de Pamplona,” Pamplona, Spain.

Writings: March 22 – “Experimentar o Experimental” [To Attempt the Experimental], published in the magazine Navilouca, in 1974, doc nº 0380/72 AHO/PHO; June 14 – Projeto Filtro – Para Vergara, doc nº 0236/72 AHO/PHO

1973
Coins the concept of quasi-cinema.

Begins Neyrótika (slide series)

Implements his Cosmococa – Program in progress: CC1 Trashiscape; CC2 Onobject; CC3 Maileryn; CC4 Nocagions; CC5 Hendrix –War, a collaboration with Neville D'Almeida.

Prepares the Conglomerado [Aggregations], a work that involves collecting all the experiences contained in the Newyorkaises (his New York output).

Happening: February 2 – “Parangolé in the Subway,” New York.


1974
CC6 – Coke Head's Soup, with Thomas Valentin; CC7, with Guy Brett, unfinished project; CC8 – Mr. D; CC9 – Cocaoculta; Renô Gone, with Carlos Vergara (unfinished).
Stonia and Shelter Shield Penetrable projects. Somethin’fa the head Parangolés 1 and 2.

1975
Working within his concept of quasi-cinema, he shoots Helena Inventa Ângela Maria [Helena Invents Ângela Maria], a slide series evoking the famous 1950s Brazilian chanteuse.

1977
Begins work on a new series of penetrables called Magic Square and a group of objects called Topological Ready-Made Landscapes.

Show: July – “Projeto Construtivo Brasileiro” [Brazilian Constructivist Project], Museu de Arte Moderna, Rio de Janeiro.

1978
Returns to Rio de Janeiro and establishes himself on rua Carlos Góes, in the Leblon quarter.

Assembles the Ready Constructible. Builds scale models for Magic Square Penetrables 2 and 5; Builds the Tenda-luz [Light Tent] penetrable for Júlio Bressane’s film O Gigante da América [The American Giant]. Installs two appropriations in the bathroom of his studio and names them Experiência do Mito-Desmitificado – Avenida Presidente Vargas- Kyoto-Gaudi [“Experiencing the Demythified Myth – Avenida Presidente Vargas-Kyoto-Gaudi”] and Manhattan Brutalista – Objet Semi-Mágico-Trouvé [Brutalist Manhattan – Semimagical Found Object].

Show: “Objeto na Arte: Brasil Anos 60” [The Object in Art: Brazil in the 1960s], Fundação Armando Alvares Penteado (FAAP), São Paulo.

Happening: November 12 – “Mitos Vadios” [Vagrant Myths] takes place in an empty lot on the Rua Augusta in São Paulo.

Writings: October 24 – Delírio Ambulatório [Wandering Delirium], for his performance at the "Mitos Vadios" [Vagrant Myths] event. Published in the newspaper Diário de São Paulo on November 5, 1978, doc nº 0943/78 AHO/PHO.