Helnwein works simultaneously on a series of large-format, monochromatic-blue, realistic oil and acrylic paintings, as well as on a series of monochrome abstract paintings..

1987 "Helnwein - Der Untermensch", self-portraits from 1970 - 1987, one-man show at the Musée d'Art Moderne in Strasbourg.
Roland Recht, Chief Curator of Museums in Strasbourg, stated: "The Viennese Helnwein is part of a tradition going back to the 18th century, to which Messerschmidt's grimacing sculptures also belong, on which one of Freud's pupils wrote a long treatise.
One sees, too, the common ground of these works with those of Arnulf Rainer or Nitsch, two other Viennese, who display their own bodies in the frame of reference of injury, pain, and death. One can also see this fascination for body language goes back to the expressive gesture in the work of Egon Schiele." ...

Installation and performance (Exhibition-Opera) "Der Untermensch" in the Kunsthalle Bremen.
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At a Helnwein solo show at Freie Volksbühne Berlin, the paintings "Moral" and "Losing Time" are stolen from the exhibition. The works have never been recovered.
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One-man show in the Leopold Hoesch Museum in Düren and in the Villa Stuck in Munich.
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From 1987 to 1989 Helnwein works on a series of pastels.
"Death of Pinocchio" (Der Tod des Pinocchio), "God in Panic" (Gott in Panik), "Modern Sleep", "Burnt Angel" and others ...

May 15, Helnwein's son Wolfgang Amadeus is born.
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Aktion "Gott der Untermenschen".
Performance at camp Kopal of the Austrian army, February, 1987. Helnwein uses tanks and real ammunition ...

Parallel to the large-format, multi-part paintings and the photographic work, Helnwein now also turns to crayon drawings.
"Knabe und Neger" (Boy and Negro),
"Triumph der Wissenschaft" (Triumph of Science),
"Nachgeburt der Venus" (The Afterbirth of Venus),
"Das Lügengebet" (The Prayer of Lies).

One-man show in the Mittelrhein Museum, Koblenz, and in the Freie Volksbühne theatre in Berlin.
Podium discussion "Violence, Sexuality, Antiquity" with Heiner Müller, Hans Neuenfels, Ernest Bornemann and Gottfried Helnwein.

1986 He works on a series of large-format self-portrait metamorphoses, which have their origin in the self-portrait as screaming man blinded by forks.
Start of a series of photographic self-dramatisations using the themes of dying hero, SS man, martyr, sufferer, friend of children, and mummified corpse.
"Gott der Untermenschen" (God of Sub-Humans),
"Das stille Leuchten der Avantgarde" (The Silent Glow of the Avant-Garde),
"Bete Herr, denn wir sind nah!" (Pray, Lord, for We Are Near!),
"Eine Träne auf Reisen" (A Tear on a Journey),
"Der Tod des Expertentums" (The Death of Expertise),
"Partisanenliebe" (Partisan Love),
"Blitzkrieg der Liebe" (Blitzkrieg of Love),
"Geheime Elite" [Secret Elite],
"Gefäss der Leidenschaft" (Vessel of Passion).

1985 One-man show at the Albertina museum, Vienna.
Catalogue with texts by Walter Koschatzky and Peter Gorsen ...

In Germany, he radically changes his way of working and now begins a series of large-format paintings consisting of several parts (diptychs, triptychs, poliptychs).
In doing so he combines photo-murals with abstract gestural and monochrome painting in oil and acrylic, also using reproductions of Caspar David Friedrich paintings and war documentary photographs. He assembles these to form what the critic Peter Gorsen calls "Bilderstrassen" (picture lanes). In doing this, Helnwein closely examines taboo subject matters and tackles terms such as "Untermensch" (sub-human), "entartete Kunst" (degenerate art), "lebensunwertes Leben" (life unworthy of life). ...

Helnwein acquires a medieval castle close to Cologne and the Rhine-river, where he lives and works untlil his move to Ireland in 1997.
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Rudolf Hausner, recommends Helnwein as his successor as professor of the master-class for painting at the University of Visual Art in Vienna.
Helnwein declines, leaves Vienna and moves with his family to Germany ...

"Time" magazine commissions Robert Rauschenberg and Gottfried Helnwein to design covers with Deng Xiaoping.

1984 "Helnwein", the film by Peter Hajek, opens the Austrian Week in the Berlin film festival, "Berlinale".
The film is awarded the Adolf Grimme Prize and in the same year wins the Eduard Rhein Prize and the Golden Kader of the city of Vienna for outstanding camera work.

Helnwein meets Walt Disney artist Carl Barks, creator of Donald Duck. Helnwein maintains that he learned more about art and life from Donald Duck than from all the schools he ever attended.

Helnwein meets Walt Disney artist Carl Barks

A self-portrait collage as a contribution to the "1984 - Orwell and the Present Day" exhibition in the Museum of Modern Art in Vienna.

In December 1984, The Hindustan Times publishes an article on Helnwein.
"Gottfried Helnwein: Called the 'Razor Blade Rembrandt' or 'the Boris Karloff of Art', Helnwein is the man most Austrians love to hate. He schocks people. His paintings are scenes from every-day life, highly realistic, but there's a sharp, morbid streak in many of them. Children with razors, faces under extreme stress or in fear or in pain. Intensly human, often savage, but always stunning.
I found him to be a sensitive, warm human being..."