Two groups interested in Concrete art emerged in the 1950s in the rapidly industrializing country of Brazil. Based in both São Paulo and Rio de Janeiro, the artists connected to both groups, Grupo Frente and Grupo Ruptura, departed from both abstraction and figuration to create geometric works focused solely on the principles of color, line, and shape.

Some Brazilian concrete artists, such as Lygia Clark, Helio Oiticica, and Lygia Pape, grew frustrated with the limits of Concrete art and pushed it to a new level of experimentation. Around 1960 Oiticica said, “All real art does not separate technique from expression.” They called this work, which often included the viewer as a participant, Neo-concrete art.