Lygia Clark's work transcends her time and continues to become relevant in our postmodern world. Its work is recognized today as one of Brazil's founding bodies and is important internationally. His artistic path is part of the critical movement that changed the art world in the 60s and 70s. Clark's work continued to define our postmodern obsession with the situation. Lygia Clark's work transcends her time and continues to become relevant in our postmodern world. Its work is recognized today as one of Brazil's founding bodies and is important internationally. His artistic path is part of the critical movement that changed the art world in the 60s and 70s. Clark's work continued to define our postmodern obsession with the situation. Lygia Clark's journey began in the 1940s and her first sixteen years of work were dedicated to painting and sculpture and in the 1960s she began to have an international presence. In 1963, Clark's research led her to the creation of Caminhando (Walking) and with this work an in-depth analysis was carried out for her work, Bichos (Beasts): while cutting a piece of paper, Lygia realized that the work of art was the experience of cutting that surface and not the relic that was left behind. This led to his artistic proposal: his spectators (called recipients and participants) would experience a present, not a before or after, and one without a defined space. The experience defined the work. This experience was created through the act of uniting the body, hand, cards and scissors. This simple notion changed the boundaries that encompassed the field of art at that time and allowed Clark to explore unknown territory. This proposal began a new field of study. While examining his students, he was able to closely follow the effects of his objects and procedures on the “subjectivity of the recipients”. Thanks to the long period of time spent with a group of people, Clark was able to achieve a greater understanding of her proposal: the recipients were able to evoke and verbalize their experience more freely. The process was amplified by the availability of recurring sessions between recipients and their objects and by the presence of Clark herself in the experiences. Clark attended the trial. The main difficulty his students faced was to shed their “aesthetic experience and the poetic capacity that they mobilized.” Clark then realized that "the subjective event presupposed and mobilized by his objects and devices as a condition of their expressivity" collided with the barriers that Clark called "the memory of the body”.”.