Return to Brazil Carmargo decided it was time to leave Europe and subsequently returned to Brazil in 1973. While Carmargo had been gone Brazil had been in a time of prosperity with the rise in exportation of newly found oil repositories. Carmargo’s return to Brazil would bring about a new phase within his practice. It is the later works of Carmargo’s that seem to be defined by a return to previous forms and experiments. In 1977 he won the sculpture award given by the São Paulo Association of Art Critics. In the 1980s his works largely returned to the original cylindrical forms, as well as shrinking in scale. Perhaps most significantly there was less conflict been form and volume. During this time Carmargo also began working with yet another new material, Belgian black marble. The artist’s interest in this material stemmed from its inherent ability to absorb light. This facet of the marble allowed Carmargo to use reflection in the same manner in which he once employed shadow. In the 1980s Camargo had solo exhibitions in both the Rio and São Paulo museums of modern art, and he participated in the 1982 Venice Biennale. Influence One of the primary influences for Camargo was the constructivist art movement that was highly popular in Brazil during his time. Constructivist art was largely stimulated by the post-war economic boom and the rise of modernist trends in architecture. During the evolution of the Constructivist art movement, Sergio de Carmargo and his peers were inspired by two specific events, the establishment of the Biennial in 1951, and the inauguration of Brasilia in 1960. Artworks created during this period range widely in there different approaches to the rules of constructivist art. The contributions of these artists began a highly original period in the history of modernism. When it comes to the whole of Brazilian art there are few independent artists like Camargo that simplified an already complex visual language through his “highly iconoclastic approaches”. Brazilian constructivism lies within the need to have universal communion and communication. Artistically, Carmargo has often been linked to either the Neo-Concrete Constructivism or Op Art Kineticism art movements. He is often compared with his Brazilian colleagues, such as Lygia Clark, Mira Schendel, and Hélio Oiticica. However, Carmargo was never clearly aligned with any one movement. While Camargo’s work was distinctly a part of the constructivism movement he adapted the rules in