Herschel B. Chipp's Theories of Modern Art: a Source Book for Artists and Critics (1968; see list of references below), includes an English translation of an extensive portion of that work (pp. 603–605).
According to the Guggenheim Collection's art-historical glossary entry on "l'art informel" (see External links), Tapié, in his 1952 book, "was trying to define a tendency in postwar European painting that he saw as a radical break with all traditional notions of order and composition —including those of Modernism....
He used the term Art Informel (from the French informe, meaning unformed or formless) to refer to the antigeometric, antinaturalistic, and nonfigurative formal preoccupations of these artists, stressing their pursuit of spontaneity, looseness of form, and the irrational.... Artists who became associated with Art Informel include Enrico Donati, Lucio Fontana, Agenore Fabbri, Alberto Burri, Asger Jorn, Phillip Martin, Emil Schumacher, Kazuo Shiraga, Antoni Tàpies, and Jiro Yoshihara.
Some art historians have argued that Tapié was a negative influence on the group, encouraging the artists to pursue informel-style painting rather than their more innovative practices, such as performance and installation.
The Center, which closed its doors not long after the death of Tapié in 1987, also housed a museum with a permanent collection of modern and contemporary art.