Both started the gallery nota in Munich (1960/1961),[6] showing solo-exhibitions of Otto Piene, Heinz Mack, Almir Mavignier, and François Morellet.

In 1961, von Graevenitz lived in Paris, where he was in contact with the Groupe de Recherche d'Art Visuel (GRAV) and shared a studio with Julio Le Parc.

He constructed "play-objects", some of them meant as models for multiples, and in 1962 he made serigraphs in many series, investigating non-hierarchical fields on the basis of chance-operations similar to his first kinetic objects .

[10] In his work, von Graevenitz investigated and systematically visualized the phenomena of perception as determined by variable movements, light projections, space, time, chance and order.

He aimed to show a changing structure of geometrical elements with their unforeseeable movement, open for indeterminable constellations, - mostly on a contrasting ground.

In opposition to the representatives of the first constructive movement ( Piet Mondriaan, Max Bill ) von Graevenitz did not believe in a Modernist utopian value of his art, but took it to be a special model for thoughts about how networks of relationships work in general.