Fontana's Spatialism directly parallels Stingel's reductionist approach through his iconic slashed and punctured canvases, where subtraction and physical intervention into the surface become the primary expressive act. Both artists use destruction of the painted surface to signal the artist's bodily presence while challenging conventional notions of painterly craft.

Twombly's gestural, process driven works share Stingel's interest in scratching and carving into surfaces to leave raw physical traces, resulting in works with muted and neutral tones that foreground the act of making over representational clarity. Both artists embrace a contemplative minimalist aesthetic where the mark itself carries conceptual weight rather than describing external subjects.

Ryman's lifelong dedication to reductionist oil on canvas painting, characterized by neutral tones, textural surface exploration, and a rigorous questioning of what painting fundamentally is, aligns closely with Stingel's conceptual and process oriented approach. Both artists strip away conventional pictorial content to focus attention on the physical materiality of paint and the conditions of its application.