In the late 1950s, Clark and some of her contemporaries broke away from the Concrete group to start the Neo-Concrete movement. They published their manifesto in 1959. Hélio Oiticica would soon join the group in the next year. The Neo-Concretists believed that art was a matter of the subject's experience in real time and space, but unlike the Minimalists in the U.S. who had some similar interests, Clark and the Neo-Concretists equated 'real space' with liveliness and the organic. In Clark’s writings, she articulates that an artwork should not be considered "a ‘machine’ nor an ‘object,’ but rather, an almost-body" which can only be made whole through viewer participation. Clark and Oiticica fused modern European geometric abstraction art with a Brazilian cultural flavor. The Brazilian Neo-Concrete movement borrowed their artistic ideas from Max Bill who was the director of the Ulm School of Design in Germany during the early 1950s. One of the goals of this newest artistic group was to create worldly, modern art as opposed to the provincial style currently popular in Brazil. The Neo-Concretists wanted art to be intuitive, yet expressive and subjective.