Lygia Clark was an iconic figure in the emergence of Brazilian modernism, helping launch the Neo-Concretism movement in 1959. She rejected strict formalism in favor of a more inclusive, interactive approach to making art. Case in point are Clark’s Bichos, meaning “critter” in Portuguese, a series of approximately 70 interactive, foldable metal sculptures that challenge the boundaries between art and viewer. Each Bicho consists of hinged metal plates that invite touch, movement, and personal engagement. This interaction represented a journey of self-discovery and connection, fostering an intimate relationship between artwork and observer.