Beginning in 1964, his moment of greatest creativity began, "...tending to make his poignant attachment to the infantile world of the game (and the toy) coincide with an unprejudiced interpretation of the contradictions of the contemporary world..." (Lara Vinca Masini). This is the phase of the Ruderi romani (Roman Ruins), of the Pezzi di donna (Pieces of a Woman), of the Armi (Weapons): the first ones were exhibited at the Galleria La Tartaruga in 1965, together with the solemn and monumental female anatomical parts. The toy devices, obtained by assembling hydraulic pipes, carburetors, knobs, sheet metal, wood and other salvaged pieces, were instead exhibited at the Sperone Gallery in 1966. Starting from the same year, the dominant theme became nature, as in Mare, a mass of stylized waves, made of extroflexed canvas, in the Tails of dolphins, of Dinosaur, made in parallel sections. They followed the works as 1 mq di terra, 2 mq di terra, of 1966-'67, and 32 mq di mare circa, of 1967, formed by parallelepipeds covered of earth and hung up, on the wall, or on the ground, with which Pascali was inserting himself in the minimalist area of the primary sculptures. At the turn of the years 1967-1968 his interest in the world of agriculture intensified, an opening from the art of reality that engaged him in the "reconstruction of nature". In 1968 l'Attico hosted other two personal exhibitions: in the first one Pascali proposed the Bachi da setola, formed by polychrome nylon brushes and four big spider webs placed at the corners of the walls and outside. In the second, the artist returned to a state of nature, that of his native Puglia: he dressed in raffia, surrounded himself with primitive tools, built a Bridge, Liane, Traps with woven steel wool. These are the works - including the Blue Widow, Pelo, Contropelo, Nido - born as a rethinking of the Duchampian concept of displacement of the context, but also of appropriation and reuse of poor materials, with poor techniques, intended to bring his work closer to contemporary operations of "anthropological art".
In the summer he participated in the XXXIV Venice Biennale; following his death, the Commission assigned the International Prize for Sculpture to his room.