This comparison between representatives of two different generations served as a measure of their respective radicality in relation to a common goal. Olivier Mosset, since the ’70s, and Steven Parrino, since the ’80s, have both been carrying out an attack on the integrity of the monochrome, on its a priori aspects. Mosset is mindful of the ideological protests of the ’70s, Parrino of the simulation theories of the post-Modern era. Both refuse to establish a self-analytical examination of the act of painting, and they counter idealistic absolutes (those of Yves Klein, for example) with the