By the end of the 1970s, Neusüss brought the photogram out of the darkroom and out of the studio to the objects recording motifs not with a camera but rather a folder with photo paper, on which he exposed subjects such as plants or windows.
He also continued to explore the body-photograms bringing them into a performative context as for instance 1977 in Arles or experimenting with silhouette like life-size portraits, including several using his friend and frequent collaborator, Robert Heinecken as the subject.
[5][6] In his later years, in collaboration with his wife Renate Heyne, he was particularly concerned with museums and collections, where they worked mainly in the dark of the night to capture large-format objects on photographic paper, such as those of Greek statues from the Glypothek in Munich.
This intimate physical connection inscribes into the paper, and this, if you are open to it, is the real fascination of photograms: the tension between the hidden and the revealed.
[9]In 1979, at the Centro de Arte Contemporânea in Porto (followed by Coimbra and Lisbon) Neusüss coordinated A Fotografia como Arte bringing together work by European artists (Bernd and Hilla Becher, Arnulf Rainer, Jürgen Klauke, Jochen Gerz, Nils Udo, Christian Boltanski) and Portuguese artists (Fernando Calhau, Julião Sarmento, Helena Almeida, Alberto Carneiro and Ângelo de Sousa).
[citation needed] In the early 1980s, he exhibited Artificial Landscapes, chemical works of abstract art that resembles small buildings on a horizon.
[12] At Lacock Abbey in Wiltshire, England, in 1978 Neusüss had realized one of his first outdoor photograms, recording on large size black and white paper at night the window that formed the subject of William Henry Fox Talbot's first photographic negative, made there in 1835.