Significantly, the aesthetic appeared in the subject of his painting E da una ferita scaturì la bellezza (Out of a Wound, Beauty Pours Forth; 1957), a work based on his memories of the bombing of San Lorenzo on 19 July 1943.
[citation needed] As time went on, Angeli began to portray fragments of history and recorded traces of contemporary events.
Another work, Cuba (1960), drew from the United States embargo shortly after Fidel Castro's revolutionary forces had overthrown Batista's dictatorship.
[citation needed] In February 1963, Angeli showed his works along with a poem by Nanni Balestrini in an art exhibition of 13 pittori a Roma ("13 painters"), in the Galleria La Tartaruga.
In May of the same year, he presented at the Galerie J in Paris with Christo, Conner, Kudo, Todd, and Mauri in an exhibition curated by Restany - L'Object Pressenti.
Shortly afterward in June, he held a solo show at the Galleria La Tartaruga with a series of works focusing on the value of the symbol to acquire a different dimension.
For a solo show at the Galleria dell'Ariete, Milan in January 1964, Angeli resorted to stereotypical ideological urban symbols emblematic of the rhetorical, celebratory character of Rome's archaeological ends.
[citation needed] In March, he featured in a show with Umberto Bignardi, Festa, Giosetta Fioroni, Jannis Kounellis, Sergio Lombardo, Renato Mambor, and Cesare Tacchi at the Galleria La Tartaruga.
In the two works he selected for that show, La Lupa (She-Wolf) and Quarter Dollar, his use of the veil obscured the significance of the underlying symbol.
[citation needed] In April 1965, Galleria Odyssia, Rome presented an exhibition called "A Generation", which featured Angeli as a prominent artist.
[6] Angeli's 1966 solo show Half Dollar at the Studio d'arte Arco d'Alibert exemplified his views on coins, which he saw as "the small symbolic world that he had been seeking for years.
In April of that year, he took part in the collective show of eight Roman painters at the Galleria De Foscherari, Bologna, and in June he attended as one of "Eleven Italian Artists from the 1960s" in an exhibition at the Spoleto Festival of Two Worlds, where he met Marina Ripa di Meana, with whom he had a long love affair.
[citation needed] In 1966, Sandro Franchina shot a film entitled Morire gratis (Die for Free), which told the story of how Angeli's sculpture, the Lupa capitolina (Capitoline She-Wolf), traveled by car from Rome to Paris.
In March 1968, in a solo exhibition at the Galleria La Tartaruga, Angeli showed a series of works with metal inserts, grids, arrows, and three-dimensional panels that prefigured the lowered ceiling of the installation, Opprimente (Oppressive), that the Galleria La Tartaruga created for "The Theatre of Exhibitions", a landmark event involving a host of artists such as Fioroni, Emilio Prini and Paolo Icaro, Pier Paolo Calzolari, Castellani, Paolo Scheggi, Mario Ceroli, Mambor, Tacchi, Alighiero Boetti, and Mauri.
He produced a series of landscapes, including Canto popolare delle Ande (Andean Folk Song), a geometrically inspired work dedicated to the coup in Chile on 11 September 1973.