While creating a traditional mold of his hand, Camargo was taken by the range of possibilities that lay on the outside of the plaster cast where his fingers protruded. Though typically discarded, it was the external plaster that offered the “rhythm of contraction and expansion” that he had been searching for. While in Paris in 1961, Camargo began to associate with major figures from the Op art and kinetic art movements. During this period, in 1969, Camargo first discovered the method for his iconic monochromatic relief sculptures, such as Untitled (Relief No. 261) (1969).