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<b>How one of the leading artists of Neo-Concretism Hélio Oiticica presaged the unique trajectory of Brazilian contemporary art with his intensive color-architectures.</b><br><br>“The IMAGE-grip is dislocated and a more fundamental element emerges: in short, IMAGE is not the work’s supreme motive or unifying end<i>.</i>”—Hélio Oiticica <br> <br>At the turn of the 1950s–1960s, one of the leading artists of Neo-Concretism, Hélio Oiticica, presaged the unique trajectory of Brazilian contemporary art with his intensive color-architectures. In the wake of this <i>vivência</i> of “time-color,” which subordinates the aesthetic to the sensorimotor powers of color, Oiticica’s transcategorial, transmedia works <b></b>critically and clinically undermine physical and social architecture, while semiotically subverting the forms of domination exerted by the image.<br> <br>In this culmination of their reassessment of the relation among art, philosophy, and the contemporary, Éric Alliez and Jean-Claude Bonne show how these works are exemplary not only of a truly diagrammatic thought and practice, but also of the South’s resistance against the coldly indifferent globalism endemic to the pacified institutions of contemporary art. Oiticica’s <i>tropicalization</i> of the commonplaces of sixties art signals the latent potential of a marginal dissidence from both the aesthetic form of art and the conceptual form of anti-art.<br>