Oiticica's

Collection of Patricia Phelps de Cisneros Hélio Oiticica's 'Brasil Painting 9,' a work from 1959 My great-grandfather, William Phelps, went to Venezuela around 1890.

Windows on Latin America: Colonial to Contemporary 2011

Carol Reis/Inhotim Helio Oiticica's 'Magic Square #5' at Inhotim Inhotim is the personal passion of Brazilian steel magnate and philanthropist Bernardo Paz, and to call it a museum is actually a substantial understatement.

Have It Your Way Scott Mitchem 2012

A fire at the estate where Oiticica's work is kept destroyed an enormous amount of it.

Artists, critics and readers on 10 years of Tate Modern 2010

In Oiticica's "Eden," visitors can dip their toes in a wading pool, and crawl through sand.

'Tropicália' Paradise 2007

Similarly, Oiticica's red fabric banner bearing the words be an outlaw, be a hero below an image of a man's body is not the bold, T shirt-ready Andy Warhol-style graphic it first appears to be.

'Tropicália' Paradise 2007

Two of Oiticica's installations, which he termed "penetrables," are recreated in the show, and they epitomize the brief movement's sensibility: sunny, playful and inviting, but also politically charged.

'Tropicália' Paradise 2007

While the parrots are fun and the sand feels good between the toes, Oiticica's "Tropicália" is no day at the beach.

'Tropicália' Paradise 2007

Looking at it one can imagine attending a Veloso and Gil concert wearing a Rhodia jumpsuit, with Oiticica's flag flying high above the stagee

'Tropicália' Paradise 2007

Ms. Clark and Mr. Oiticica made objects that were activated by participants, but Mr. Oiticica's "Parangolés" 1964 were colorful fabrics to be worn by people twirling like dancers at Carnival, and Ms. Clark's "Sensorial Objects" from the '60s and "Relational Objects" from the '70s and '80s started with activating the senses and moved into a kind of radical art therapy.

NYT > Home Page By MARTHA SCHWENDENER 2011

Given the nature of Oiticica's practice, and of his interest in co-participation over display, alongside decades of controversy over how art spaces construe his work, the writer points out in paraphrasing Brazilian press and bloggers, perhaps "the fire had 'liberated' the artist's ideas from their material cage."

Walker Blogs Combined Feed Brooke Kellaway 2010