As Germano Celant has observed, «he does not place himself on or in front of the
picture, like Pollock and Fontana, but behind and to one side, almost as if he wishes to draw attention to a parallel flow where for his vision the «visceral» product, dear to the exponents of Art
Informel, can now be provided by the «painting», that comes into existence by itself» (G. Celant, «Manzoni and his Times», Piero Manzoni: A Retrospective, exh.
Gerhard Hoehme's Cimbalom from 1966, a
picture box with strung painted clotheslines, is framed by two assemblages by Peter Roehr, which counter Hoehme's gestural Art
Informel «painting» by insisting on the principle of an anonymous serial order.