Sergio De Camargo studied at the Academia Altamira in Buenos Aires under Emilio Pettoruti and Lucio Fontana.

Camargo began his art education at the Academia Altamira in Buenos Aires under Lucio Fontana and Emilio Pettoruti .

[3] However, Camargo was most influenced by Constantin Brancusi’s study of the natural world through the lens of volumetric forms, which inspired his interest in the language of materials.

[4] When Carmargo returned home to Brazil in the 1950s, he stumbled into the rising Neo-Concrete Constructivist and Kinetic Op Art movements.

[3] During that period he concentrated on structuring monochrome white surfaces some in "Polyhedral Volumes of Mutable Readings" using parallelepiped shapes and others with cylindrical wooden reliefs, in both cases proposing the play of lights and shadows alternating between order and chaos, fullness and emptiness.

It is a synthesis of his thought and experience in a single sculptural sign”[3]It was from cutting this apple that Camargo was able to see how the refractions of light acted differently based on circumstance.

With this exploration of size and material, Camargo also decided to expand his library of geometric shapes to more prismatic elements that would pierce, project, and recede.

[9] Also in 1965, he began sculptural pieces for Oscar Niemeyer's Foreign Ministry Building in Brasília.Eventually, by 1967, he contributed a monumental element to the site—a rhythmically structured 25 meter wall.

[3] In the 1980s Camargo had solo exhibitions in both the Rio and São Paulo museums of modern art, and he participated in the 1982 Venice Biennale.

[14][15] During the evolution of the Constructivist art movement, Sergio de Carmargo and his peers were inspired by two specific events, the establishment of the Biennial in 1951, and the inauguration of Brasilia in 1960.

When it comes to the whole of Brazilian art there are few independent artists like Camargo that simplified an already complex visual language through his “highly iconoclastic approaches”.

[7] While Camargo’s work was distinctly a part of the constructivism movement he adapted the rules in order to more accurately communicate his thoughts.

Camargo’s work has been linked due to its distinct reliance on simplicity, systems, and uniformity through volumetric elements and color.

[3] In 2000, the Paço Imperial, Rio de Janeiro, opened a permanent exhibition space for the artist, which includes a replica of his art studio in Jacarepaguá, Brazil.