Camargo developed his sculptural practice between Paris and Rio de Janeiro, adapting Cubist and Constructivist aesthetics—not least, the example of Constantin Brancusi—amid the contemporary and transnational groundswell of geometric abstraction. By the mid-1960s, he began to translate modernist precepts into his now iconic white reliefs in wood and marble, in which fractal surfaces of diagonally-cut cylinders and cubes seem to dissolve light and material. The present sculpture extracts a pair of cubic volumes from the wall; their angled surfaces, offset and softly luminous, highlight the opalescence of white Carrara marble and the poetics of minimalist monochrome.