The woodblock prints are minimalistic; they feature planes of black ink and thin lines that reveal the white rice paper underneath.

[6] In Tecelares, Lygia Pape used "weaving" as a metaphor to evoke handiwork and a connection to Brazil's traditional and indigenous culture.

[6] Instead of using a gridded and rigid composition, Pape blended natural and organic patterns with incised lines that are intertwined to "warp and weft.

As in the other prints in this series, Sem Título [Untitled] (1960) is cut by diagonal lines that disrupt the continuity of the horizontal wood grain pattern, creating movement and distinct planes in the artwork, though they are considerably more subtle than the 1959 Sem Título [Untitled] print of the same series.

[6] In 1952, at the age of 25, Pape met fellow Brazilian artists Hélio Oiticica, Ivan Serpa, and Aluísio Carvão.

Neo-Concrete Movement advocates for a more expressive and corporeal viewing experience than the “overly rational” art-making approach embraced by Grupo Ruptura.

The pages are 12 x 12 inches each and feature abstract images that are supposed to signify a significant moment in the creation of the world, such as the recession of water, the discovery of fire and agriculture, hunting, and navigation.

[6] As a Neo-concrete artist, Lygia Pape's Livro da Criação [Book of Creation] synthesizes reason and emotion.

[15] Among the videos produced in this period, the seminal film made in 1975 by Pape, Eat Me, has evoked the interest in exploring the attraction and repulsion in gender and sexuality.

The sensual movements of a female and a male mouth are presented in slow motion, which is referred to as an implication of a vagina as well as the actions of “sucking and expelling objects”, according to Claudia Calirman.

[16] Although Pape persisted that this work should not be viewed as a thesis, the film reveals sexism by “implicating the viewer in the objectification of women”.

[11] Her artwork worked as a vehicle for existential, sensorial, and psychological life experiences, much of it based in geometry and relying on both the intellectual and physical participation of the viewer.

[1] In her teaching, Pape introduced her mostly middle and upper class students to the informal architecture of Rio de Janeiro's favelas, with particular focus on Maré.

[18] In her films, photography, and teaching of the 1970s and 1980s, Pape sought to investigate architectural forms and sociability of urban space in Rio de Janeiro.

[2] In 1978 Lygia Pape began to experiment arranging and rearranging metallic strings together with her students at the Parque Lage Gardens in Rio de Janeiro.

[35] In 2017, Paula Pape filed a suit in the United States District Court for the Southern District of New York against LG Electronics, several vendors of its mobile phones and Getty Images Korea alleging an infringement of copyright of her mother's 2003 sculpture TtEia 1, C in packaging materials, advertising and promotions for the K20 V mobile phone.