In the early 1970s Camargo moved away from the wood reliefs and started to produce marble sculptures of varying sizes, orientation and organisation. Th marble used - either Carrera and Black Belgian - was sourced from Italy and he later set up a studio in the town of Massa, Tuscany. This shift in his practise collapsed post war minimalism with a classical understanding of geometric sensuality. Camargo approached this series with an Brâncușian sense of the simple sublime. He wanted to explore the possibilities of minimalism and classical balance in order to create sculptures that are eternally and absolutely beautiful. Talking about this series Camargo said 'mass forms itself, organises itself, designs itself in its own living space...they are only what they can be.'

Starting with solid cylinders, spheres and cubes, Camargo would cut the marble vertically and horizontally before combining and recombining elements in subtle seriality. As Ronald Brito observes, Camargo wanted to express minimal mass with maximum density. He purposely used the light absorbing Carrera marble and the reflective Belgian Black in order to play and distort the feeling of volume. With the reflexive quality of the Black Belgian and the acute angles, Untitled, 1980s almost closes in on itself resulting in the sculpture seemingly imploding in on itself.