White isn't ever a pure thing;

white is always tinted in some way.

Elizabeth Sherman, Assistant Curator at Whitney Museum of American Art

Agostino Bonalumi has built upon years of extraordinary creativity, inventing – with Enrico Castellani – the linguistic system of "tele estroflesse" (extroflexed canvas), which aimed to release painting from the slavery of its traditional framework without entirely abandoning it. Bonalumi's desire to seek new spacial solutions to his art was in line with the modern tradition of the "synthesis of arts", a theory from the 1930s that combined synthetic painting, sculpture and architecture in one significant "habitable" creation.

Gianfranco Pardi began to reflect on architecture as early as the late 1960s. What the artist meant by “architecture” was a procedure, a creative process, a means by which he was able to concentrate on the constructive possibilities of form, of investigations into three-dimensionality, which clearly refer to avant-garde utopias, Russian Suprematism, Constructivism and Dutch Neoplasticism.

Performing an X-ray, this work represents the construction of spatiality as the outcome of the numerical ratios between measurements, as the result of the apparent physicality and current invisibility of forces and stresses in a theatre of tensions in which he is seeking balance.

From the time of his early involvement in the international movement ZERO, in the late 1950s and early 1960s, de vries has always pursued the idea of simplicity and economy in his expressive, compositional, and working methods, in an attempt to recreate the basic mechanisms of life within the artistic process.

Jorge Eielson is best known for his series "Quipus", an exploration of material, form and communication that began in 1963 and continued for four decades.

The work is inspired by the ancient quipus that the Incas of Peru used as method of record keeping. By stretching, twisting, knotting and painting the canvas, each knot and intersection entail multiple meanings of different cultures and origins becoming a symbol of transcultural and global communication.

In 1960, torsion becomes the core of Leblanc’s artistic research. For the artist, it transforms the work which ceases to be merely a surface and becomes the stage of light variations.

This work is a typically expression of the artist technique: surfaces or sculptures whose rhythm derives from this twisting of the material, in regular progressions that seem to foreshadow an optical or minimalist approach, yet reject the coldness of such compositions, constantly seeking an active connection to the space around them.

The Venetian artist Giuseppe Santomaso is one of the most precocious and decisive interpreters of the non-figurative painting in Italy, starting from the 40s.

This work belongs to the period of major experimentalism of the materials, where the dialogue with the informal poetics can be read free from any gestural violence or material tautology. The artist intended to recreate the dynamics of reality through painting: both from a physical and emotional point of view, giving life to images.