Klein similarly reduced painting to monochromatic fields and prioritized the immaterial void, creating works where the pure surface becomes a portal to infinite space rather than a representational image.

Rauschenberg challenged the flat picture plane by treating the canvas as a physical object and site of conceptual action, blurring the boundary between painting, sculpture, and radical gesture just as Fontana does here.

Uecker pierces and punctures white monochromatic surfaces with nails to transform flat canvases into three dimensional objects, sharing Fontana's core strategy of using physical penetration of the surface as a primary artistic act.