interest in psychoanalysis, including the research of Sigmund Freud. She drew on the writings of French philosopher Maurice Merleau-Ponty, whose phenomenology resonated with the intertwining of subject and object she sought in her breakthrough work of the 1960s. Later in her career, her more holistic works displayed influences from experiences she had with psychotic and neurotic patients. Like many intellectuals of the 1950s and 60s, Clark was in therapy herself, and the propositions she was developing explored the frontier between art, therapy, and life. Nostalgia of the Body In 1964, Clark began her Nostalgia of the Body series with the intention of abandoning the production of art objects in order to create art that was rooted in the senses. The Nostalgia of the Body works relied on participant's individual experiences occurring directly in their bodies. These pieces addressed the simultaneous existence of opposites within the same space: internal and external, metaphorical and literal, male and female. Her 1966 work Diálogo de mãos [Dialogue of Hands], a collaboration with Hélio Oiticica, bound together two participants' hands with a stretchy Möbius strip, and the movements of the two bodies created a cascade of stimuli and embodied response. Also in 1966, Clark created Pedra e ar [Stone and Air], a pebble perched upon a small plastic bag filled with air. The pressure of viewers' hands would cause the pebble to dance. Art therapy Art critic Guy Brett observed that Clark "produced many devices to dissolve the visual sense into an awareness of the body." Clark's later works focused heavily on the unconscious senses: touch, hearing and smell. In her 1966 work, Breathe With Me, Clark formed a rubber tube into a circle and invited participants to hold the tube next to their ear. The participants could hear the sound of air entering and exiting the tube, which produced an individual sensory experience for each participant. Tropicália artistic movement Clark is one of the most established artists associated with the Tropicália movement. Clark explored the role of sensory perception and psychic interaction that participants would have with her artwork. An example of Clark's fascination with human interaction is her 1967 piece O eu e o tu (The I and the You). The piece consists of two industrial rubber suits joined together by an umbilical-like cord. The participants wearing the suits would be joined together but unable to see one another, forming an almost psycho-sexual