This type of Achrome constitutes a point of arrival, the ultimate evolution of the whole series, started in 1957. If the initial Achrome entailed a residual of craftsmanship and artistic interpretation, the system of folding the canvas after it had been immersed in china clay further limited the expressive potential of the artist. The artist himself decided to reduce his (involuntary) expressive capacity to pursue a minimal formulation of the object/painting. White as a non-colour, the square of stitched canvas as a neutral form, un-dynamic and without direction, the elimination of every expression: all these characteristics reduce painting to a grade-zero, promoting at the same time the artist as the only force with the power of determining, through his actions, the elevation of a deliberately inexpressive object to the category of ‘art’.