Abstract
The author extends the notion of theoretical object by Louis Marin to promote the interposition of anachronic elements among themselves, namely the work by Sandro Botticelli and the Parangolés created by Hélio Oiticica. Such association allows the author to establish certain similarities, a hypothesis called Parangolé/Botticelli and that intends, above all, to reflect upon the archeology of modern illusions. Thus, if the images by Botticelli communicate an Antiquity beyond Antiquity itself, the Parangolés by Oiticica talk about an art beyond the neoconcrete modernity with which the artist was involved.
keywords:
Hélio Oiticica; Parangolés; Aby Warburg; transitional form
