Through the creative relationship between Brazilian artistic expression
and the daily social grind of the big cities, marginália began to incorporate a series of elements and representations of daily violence, with the aim
of criticizing conservative attitudes in society. It was the fruit born of the advance of counter-culture in Brazil, and it was often associated with the idea of desbunde (letting it all hang out) or of curtição (digging something, grooving), terms used by a section of Brazilian youth of the period.

The most important artworks that come into the category of marginália, include films such as “Câncer”, by Glauber Rocha (1968), “A Margem”
(The Edge), by Ozualdo Candeias (1967), and “O Bandido da Luz Vermelha” (“The Red Light Outlaw”) by Rogério Sganzerla (1968); books such as Me segura que eu vou dar um troço, (Hold me down, I’m going
to have a fit) by Waly Salomão (1972), and Urubu-Rei, (King Vulture)
by Gramiro de Mattos (1972); articles by Hélio Oiticica,  Rogério Duarte, Décio Pignatari and the Campos brothers, published in the alternative press,  such as Flor Do Mal (Flower of Evil), Presença (Presence)
e O Verbo Encantado (The Enchanted Verb) - all from 1972; besides
the columns written by Torquato Neto in the Rio newspaper Última Hora, under the iconic title of “Geléia Geral” (“General Jam”) and, last but not least, the compendium Navilouca (Crazy Ship/Ship of Fools) (1973), that was to have only one issue.

After a fervent period of production in the cinema, the press, popular music and in literature, the protagonists of marginália gradually fell apart as a group, going off in search of individual directions. The ‘official’ ending is held to be Torquato Neto’s suicide in November 1972. The last group event was the launch, in 1973, of Navilouca, which Torquato and Waly Salomão had worked on throughout the previous year.