In addition to Soldati and Garau, Piero Dorazio, Gillo Dorfles, Lucio Fontana, Giovanni Guerrini, Galliano_Mazzon, Gianni Monnet, Bruno Munari, Achille Perilli, Ettore Sottsass, and Luigi Veronesi also took part in the movement's initiatives.
[1] In this period, indeed, Garau began painting "cropped fonts," "anomalous surfaces," ambiguous spaces, and modular geometric forms that represented both scientific investigations in perception and expression of a truly original aesthetic.
A number of patinings such as the series of the "spires," as well as a 1984 essay, titled Color Harmonies and published with an Arnheim's preface, reflect Garau's keen interest in chromatism, transparencies, and juxtapositions.
Some of his works were featured in the group exhibitions Painting in Italy 1910s-1950s: Futurism, Abstraction, Concrete Art at the Sperone Westwater Gallery in New York City.
[4] and Oltrepò Pavese, Crossroads Of Abstractionism, at Border Line Art Gallery in Voghera (2015), a group exhibition with Atanasio Soldati and Giovanni Novaresio.