[3] While there he attended the School of Fine Arts and showed growing interest in artistic avant-garde movement in Argentina.

The socially conscious artist was expelled from France in May 1968, after participating in the Atelier Populaire and its protests against major institutions.

Julio Le Parc found an interest in art at the age of thirteen when it was evident that, while he was a mediocre student, he was exceptional at sketching portraits and illustration cards.

[1] His environment, mainly being the School of Fine Arts significantly influenced the early part of his career.

He later returns to the Academy of Fine Arts, where he takes an active role in student movement groups.

Julio Le Parc graduated from the Academy of Fine Arts with Luis Wells and Rogelio Polesello.

However, in 1959 Le Parc begins his experimentation with image produced by light multiplied by layers of planes of Plexiglas.

[7] Upon building relationships with these fellow artists and moving permanently to Paris, Le Parc began to paint what came to be known as Surfaces Sequences.

These are works in which the progression of forms with slight variations create illusions of rhythmic movements when completed.

[7] In 1966, Le Parc won the Grand Prize in Painting at the 33rd Biennale di Venezia, Venice.

However, "in the 1970s, Le Parc's artistic activities became less frequent, to the degree that his work almost went unnoticed in the international arena for several decades".

[6] Nonetheless, with a renewed interest in using light as a medium, Le Parc's work is being brought to the attention of a wider public.

Mobil Transparent theme is made up of small pieces of Plexiglas connected together like a translucent cascade flowing from the ceiling.

This work was placed at the center of the main room, allowing the viewer to walk around it to see all the different angles reflected on a mirror directly below it on the floor.

[10] As with many of Le Parc's works form this time, in an interview with Alma Ruiz on MOCAs website, this piece focuses on the "visual experience and omits the anecdotal".