[6] This was a sudden invasion of the beach's Lifeguard Post 9 (Posto Nove) with performances, poetry readings, demonstrations with banners featuring slogans, and distribution of publications.
The movement published a total of three editions of the Gang zine, in addition to chapbooks, stickers, t-shirts, prints, comics, artist's books and anthologies.
[9] This event, which Kac considers the formal end of the movement,[10] mobilized 9 performers, explored the entire repertoire developed during the preceding two years, included a wide array of props and publications, climaxed with a nude demonstration along the beach (which was and still is forbidden by law[11]), mobilized public participation, and culminated with a collective dive in the ocean—a symbolic act meant to signify self-renewal, the beginning of a better path forward beyond the prevailing political and aesthetic conservatism.
[13] The movement started to be rediscovered in 2010, when the Laura Marsiaj Gallery, in Rio de Janeiro, exhibited Eduardo Kac's series entitled Pornogramas (Pornograms), developed by the artist between 1980 and 1982.
Glauco Mattoso created an innovative form that he called Jornal Dobrabil, a self-printed double-sided sheet designed entirely on a typewriter that was visually provocative and mixed indiscriminately classic, experimental and popular pornographic material.
Leila Míccolis, Teresa Jardim and Cynthia Dorneles developed their respective poetic voices through a form of feminism that combined unabashed pornography and liberal political positions.
Kac also developed the innovative series entitled Pornograms, hybrid of body art, design, political resistance, performance, publishing, activism, photography and poetry.