Kate Linker has written that Mosset’s work "…dramatizes the division between art’s materialist production and its idealist reception". With this installation, we are again invited to lose ourselves in the scale and sensuality of the canvases, before being thrown-back again by the works’ recalcitrant, yet playful, materiality.

Olivier Mosset’s work originally gained prominence in Paris in the 1960’s as part of the B.M.P.T. group, which also included Daniel Buren, Michel Parmentier, and Niele Toroni. In a brief yet provocative series of actions in 1967-68, the group attacked the bourgeois Parisian art establishment, subverting assumptions of authorship, originality and unity surrounding the art object. Mosset developed this critique through his own subsequent work as a painter, the repeated circle paintings of 1966-74 were followed by a series of stripe paintings in 1974-78. After relocating to New York in 1978, Mosset refocused himself on the painterly aspect of his work over its discursive concerns. He produced a body of monochrome canvases from 1978, followed by a return to abstract work in the 1980’s, which was subsequently cited as a major influence by the generation of ‘Neo-Geo’ painters emerging at that time.