Julio Le Parc, an Argentine artist celebrated for pioneering kinetic sculpture and Op Art over a seven-decade career, died on May 30 in Cachan, France, where he had lived since the early 1970s. He was 97. His son Yamil confirmed the news.

Le Parc emerged as a leading figure in Latin American art in the early 1960s, integrating European and American post-Abstract Expressionist movements into his work. He specialized in kinetic sculptures—artworks incorporating movement—and geometric optical illusions characteristic of Op Art, often embedding regional influences and explicit political themes. Known for creating accessible art aimed at working-class audiences, he employed straightforward materials like plexiglass shards and nylon string to produce pieces that were both conceptually inventive and interactive.

His works frequently featured elements such as mirrors, motors, and mobiles, creating immersive environments with a playful, almost carnival-like atmosphere. One notable piece, “3 Games with Ping-Pong Balls” (1965), invited viewers to activate mechanisms that propell balls into motion. In some instances, his art contained overt political messages; “Knock Down the Myths” (1969), for example, was an interactive booth encouraging visitors to hurl balls at images of riot police and politicians.

Le Parc described his mission as bridging the gap between art and everyday people, emphasizing optimism and engagement through interactive experiences. Critics have compared his style to a blend of the whimsical interactivity of Red Grooms, the abstract forms of Alexander Calder, and the social consciousness of Diego Rivera.

After receiving a scholarship, Le Parc relocated from Buenos Aires to Paris in 1958, joining like-minded artists in forming the Groupe de Recherche d’Art Visuel (GRAV), which emphasized collective creation and rejected the traditional artist-viewer hierarchy. Although members of GRAV avoided individual credits, Le Parc became the group’s most recognized figure after winning the top painting prize at the 1966 Venice Biennale. His work was hailed for reflecting the emerging digital and consumerist era, drawing parallels to earlier modernists like Piet Mondrian.

During the political unrest of May 1968 in France, Le Parc actively participated in protests, including an occupation of a car factory, which led to his arrest and expulsion to West Germany. Prominent intellectuals Jean-Paul Sartre and Simone de Beauvoir protested on his behalf, enabling his return to France.

Le Parc maintained a complicated relationship with the art establishment. Notably, he canceled a major 1972 solo exhibition at the Museum of Modern Art in Paris after a coin toss determined his decision, reflecting his ambivalence toward institutional recognition. Although he continued producing work throughout his life, broader institutional acknowledgment only returned around the early 2000s with retrospectives across Europe, the United States, and Argentina.

Despite participating in commercial ventures such as a 2015 collaboration with Hermès, Le Parc remained critical of the commercialization of art, emphasizing the importance of artistic value beyond market measures. Born on September 23, 1928, in Palmira near Mendoza, Argentina, he grew up influenced by the natural light playing across the Andes and developed a lifelong commitment to social causes and labor movements.

He is survived by his three sons—Yamil, Juan, and Gabriel—and five grandchildren. His wife, fellow Argentine artist Martha, passed away last year. Major museums continue to revisit his legacy; a recent exhibition featuring his work across various media opened at Tate Modern in London. Le Parc considered distinctions between painting and sculpture to be limiting, describing himself as an “experimentalist” and championing the fluidity of artistic categories throughout his career.