1970
He opens the Década Publicidade studio.
Takes charge, until 1974, of marketing planning and consultancy for the Group Schmidt – Porcelana Real e Porcelana Schmidt.
Receives the Prizes of the City of Santo André for his participation in the II Salão de Arte Contemporânea de Santo André (SP), at the Paço Municipal.
Shows Retículas Corluz at the Panorama de Arte Atual Brasileira – Pintura (MAM-SP).
Starts to work in the Vila Mariana studio (Rua França Pinto).
1971
He participates in the III Salão Paulista de Arte Contemporânea, at Galeria Prestes Maia (SP), and in the I Salão de Arte da Eletrobrás (MAM-RJ), where he receives the Acquisition Prize.
1972
He participates in the IV Salão Paulista de Arte Contemporânea (MASP) and in the group show Exposição – Homenagem ao Mestre, dedicated to Waldemar da Costa (MAM-SP).
Organizes his studio on Rua Dr. Inácio Arruda.
1973
He presents the special room Constructed Art at the XII Bienal de São Paulo (Fundação Bienal de São Paulo), presenting canvases of the Retículas Corluz series.
Participates in the Panorama da Arte Atual Brasileira – Pintura (MAM-SP).
Receives the Acquisition Prize at the Salão de Arte Luz e Movimento da Eletrobrás (MAM-RJ), for the work Braços e Abraços, a lattice printed in offset.
1974
He executes the expanded color reticle entitled Desretrato de Haroldo de Campos, an artwork inserted in the anthology of poems Xadrez de estrelas, released by Editora Perspectiva, a publication for which Fiaminghi also does the visual programming and illustrations.
Participates in the show Prospectiva 74 (MAC-USP).
In order to rains funds for the construction of a new headquarters for the Escola Superior de Propaganda e Marketing de São Paulo, together with Roberto Rugiero he assumes the production of litho-offset editions of important Brazilian visual artists.
He takes charge of the planning and visual implantation of Quimbrasil – Química Industrial Brasileira S.A. and of Serrana S.A. de Mineração, until 1976.
1975
In January, he lectures about the 1950 Brazilian concrete movement at the IV Curso de Cultura Brasileira; Brasil Década de 1950, held at the Instituto de Estudos Brasileiros (IEB-SP).
He uses tempera on canvas to begin the series of Casulíricos, so named by Haroldo de Campos.
Carries out the graphic programming for the poetic work CéuMar by Ronaldo Azeredo.
Serves on the jury of the VI Salão Paulista de Arte Contemporânea.
Participates in the XIII Bienal de Sao Paulo (Fundação Bienal de São Paulo).
Holds a solo show at Galeria do Sol, in São José dos Campos (SP), a city where he resumes the Ateliê Livre.
Starts working with the Department of Artistic Documentation and information (Idart), specifically at the Center for Documentation and Information of Brazilian Art, of the Municipal Secretary of Culture of São Paulo, in the period he works at Idart (1975-9) he participates in various researches concerning São Paulo’s graphics industry, and in some interviews concerning visual arts, including with Mario Pedrosa, Almir Mavignier and Carlos von Schmidt.
1976
He participates in the Panorama da Arte Atual Brasileira – Pintura (MAM-SP) and in the show Graphic Art 76, at Matrix Gallery, Indiana University, Bloomington (United States).
Ends the activities of the Ateliê Livre de São José dos Campos.
1977
He takes part in the group show Projeto Construtivo Brasileiro na Arte 1959-1962, held at the Pinacoteca do Estado de São Paulo and at MAM-RJ; and holds a solo show at A Ponte Galeria (SP).
1978
He travels to Europe with Sacilotto and, among many other artistic experiences, he rediscovers Monet. They lodge in Paris, at Fèjer’s studio, and meet Julio le Parc.
Participates in the show As Bienais e a Abstração: A Década de 50, at Museu Lasar Segall (SP).
Does the graphic design for the book Ianelli: do figurativo ao abstrato, by Paulo Mendes de Almeida. He represents the Municipal Secretary of Culture in the direction and on the board of the XV Bienal Internacional de São Paulo.
1979
He participates in the Panorama da Arte Atual Brasileira – Pintura (MAM-SP).