While in Paris, he had the opportunity to view work by his international contemporaries—Jean Fautrier, Hans Hartung, Serge Poliakoff, and Mark Rothko particularly interested him—and became acquainted with several Art Informel artists.
Feito nonetheless maintained close contact with the Spanish avant-garde and was a founding member of the Madrid-based group El Paso (1957–60), which emphasized an antiacademic, morally and socially responsible, innovative art for Spain.
El Paso's manifesto articulated the group's aim to create a new spiritual state in Spanish art, recognizing the necessity to take action in the wake of the civil war.
During the late 1950s and early 1960s, Feito's work can be characterized by a subdued, colorless palette, contrasting blacks, grays, whites, and ochers.
In 1963 his work tended toward an increased formal and material simplicity in which circular forms predominated, reflecting his interest in Japanese art.