Born in Belo Horizonte, Brazil, Lygia Clark became a central figure in the development of Brazilian modernism. She was a founding member of the Neo-Concrete movement in the late 1950s, which sought to move beyond the rigid rationalism of geometric abstraction toward a more subjective and sensory experience of art.

Her practice evolved from early two-dimensional paintings into her signature Bichos (Beasts) series, a collection of hinged metal sculptures designed to be manipulated and reconfigured by the audience. These works emphasized the physical relationship between the object and the participant, effectively turning the viewer into a co-creator of the piece.

Clark's legacy remains a cornerstone of contemporary curatorial discourse, frequently cited in major institutional retrospectives and thematic exhibitions. Her influence persists in the study of participatory art and the intersection of phenomenology and sculpture.