“HÉLIO OITICICA: TO ORGANIZE DELIRIUM” was the first US exhibition in more than two decades to feature the full breadth of the Brazilian artist’s vibrant aesthetic production, from his early experiments with color and geometrically shaped supports—including his “Bólides” (Fireballs), 1963–69, “Núcleos” (Nuclei), 1960–66, and “Parangolés,” 1964–79—to his immersive environments. Among the latter was his seminal Tropicália, 1966–67, in which visitors are invited to physically engage an array of materials, from gravel and sand to poems and a TV set. The survey also marked the artist’s