From 1970 to 1988, he worked with Angel Pascual Rodrigo in the two-man collectiveLa Hermandad Pictórica. During the period 1970 to 1974, they worked on installations and paintings in a style close to Pop but with a social agenda.
In 1974 and 1975, Vicente Pascual traveled to Afghanistan, Pakistan, and India. InPushkar, Rajhastan, he studied the diverse arts and philosophies of India, which left an indelible marc in the way Pascual looks at the life. After his return to Spain in 1975, he became acquainted with the writings of Frithjof Schuon, Ananda Coomaraswamy and Seyyed Hossein Nasr. Aware of the accomplishments of contemporary art, Pascual championed a movement that advocated a return to an intellectual landscape filled with symbolism.
From 1980 to 1992, Pascual's studio was in Campanet, Mallorca. During these years, he traveled regularly to Bloomington, Indiana. In 1992, he moved his studio to the United States where his art underwent a severe external change, reducing forms to fundamental geometry close to the essentialist conception of Agnes Martin's grids. As Chris Gilbert summarized, "for Pascual, the shapes-the circles, squares and other reduced glyphs-in his paintings are forms akin to the intersubjective schemas of understanding that Plato, Kant, and Cassirer saw as preconditioning appearances."