He meets Polish visual artist and designer Leopold Haar, who introduces him to constructivism and to the artists Malevitch, Kandinsky, Prevsner and Moholy-Nagy.
At the invitation of Leopold Haar he conceives the cover for the “Preproject” of the Advertising School of the Museu de Arte de São Paulo (Masp).
In April, he leaves Lintas. He returns to Waldemar da Costa’s studio and takes up painting again. On this occasion he meets artists Amelia Toledo and Rachel Correia Vaz de Arruda, and reestablishes his friendship with Lothar Charoux.
He paints Mulher Sentada, his last figurative work, in dialogue with nearly cubist structures.
Until 1956 he keeps busy with the planning and execution of advertising campaigns for retail stores, including Sensação Modas.
He visits and admires the works shown at the II Bienal de São Paulo (MAM-SP).
He stops painting at Waldemar da Costa’s studio.
His friend, architect-designer Valentino Cai, signs him up for the III Bienal de São Paulo (MAM-SP); of the three artworks submitted, two are accepted: Sequência de Curvas and Composição Vertical I, both from 1953. The critics classify Fiaminghi’s work as concretist.
He meets Luiz Sacilotto, who invites him to participate in the meetings of the group of concrete artists of São Paulo, at Clubinho dos Artistas, on which occasion he is introduced to the others members: Waldemar Cordeiro, Kazmer Féjer, Maurício Nogueira Lima and Judith Lauand. He also meets the brothers and concrete poets Augusto and Haroldo de Campos. Mário Schenberg introduces him to Alfredo Volpi.
Participates in the IV Salão Paulista de Arte Moderna, at Galeria Prestes Maia (SP), receiving the silver medal for the work Elevação Vertical com Movimento Horizontal (1955).
Begins his research on corluz [colorlight] lattices, producing photographic slides.
He meets Décio Pignatari.
In the magazine Propaganda, he publishes the article “São mais fáceis os layouts à Mondrian?” [Are Layouts Easier then Mondrian?].
Begins to work in Waldemar da Costa’s studio (Rua João Adolfo).
Does the visual programming for the catalog for Volpi’s exhibition (MAM-SP).
In December, with five artworks – Elevação Vertical com Movimento Horizontal (1955), Triângulos com Movimento em Diagonal (1956), Triângulos com Movimento Espiral (1956), Triângulos Entrosados com Movimento Circular (1956) and Círculos Concêntricos e Alternados (1956) – he participates in the historical I Exposição Nacional de Arte Concreta (MAM-SP), for which he also conceives all of the visual programming of the concrete poem/posters, on the occasion of the release of the “Manifesto da Poesia Concreta.”
Begins his first experiments with offset printing.
In the magazine Propaganda, he publishes the article “Marcas e logotipos como peças publicitárias” [Brands and Logos As Advertising Pieces].
He participates in the I Exposição Nacional de Arte Concreta, held at the Ministry of Education and Culture (RJ), in the Exposição de Arte Moderna do Brasil, held at the Museo Nacional de Belas Artes de Buenos Aires (Argentina) and in the IV Bienal de São Paulo (MAM-SP), where he presents two works in enamel on Nordex, with the generic name of Alternados [Alternated].
With Décio Pignatari he develops the silkscreen ad for the IV Bienal de São Paulo (MAM-SP), published in the magazine Quadrum.
He joins the Brás collective studio and serves on the Organizing Commision of the VII Salão Paulista de Arte Moderna.
Is appointed as member of the board of the Galeria de Arte das Folhas, a position he would occupy until June 1959.
Creates the silkscreened cover for issue #4 of Noigandres magazine and develops the series of ten works called Virtuais [Virtual].
Founds the Primeira Agência Promocional Ltda. (PAP), initially installed in Waldemar da Costa’s studio, serving as its director until 1959.
Participates in the planning and implantation of the rotogravure process for the companies Repro S.A. and Lastri S.A., in collaboration with the magazine O Cruzeiro.
He shows the Virtuais and Seccionados [Sectioned] series at the group show Prêmio Leirner de Arte Contemporânea, at Galeria de Arte das Folhas (SP).
Participates in the V Bienal de São Paulo (MAM-SP) and in international exhibitions: Ausstellung Brasilianischer Künstler, at Haus der Kunst, in Munich (Germany); Arte Contemporânea Brasileira, at Fundação Calouste Gulbenkian, in Lisbon (Portugal); and the Exposição Arte Contemporânea Brasileira (MAM-RJ), which travels the following year to the cities of London, Paris, Hamburg, Munich, Amsterdam, Zürich, Basel, Lisbon, Rome, Vienna, Madrid and Barcelona.
He parts ways with Waldemar Cordeiro.
Until the following year, he keeps busy with the planning and implantation of the restructuring of the company Panan Publicidade S.A.
He starts to work in a studio adjoining the living room of Volpi’s house, until about 1966.