In Paris in the 1960s he was a member of the BMPT (art group), along with Daniel Buren, Michel Parmentier, and Niele Toroni,[2] their initials reflected in their collective acronym.

They sought to democratize art through their radical procedures and by repeating a specific compositional device across multiple grounds: Mosset focused on the circle, which he painted in some two hundred iterations between 1966 and 1974.

In the 1980s neo-geo artists, such as Peter Halley who asserted a socially relevant, critical role for geometric abstraction, cited Mosset as an influence.

[7] In 2007, Olivier Mosset donated 171 works from his own collection to the Musée des Beaux-Arts de La Chaux-de-Fonds (MBAC) in Switzerland.

Three of those identical paintings have been shown together by the Pinault Collection: "A black ring in the center of a square canvas breaks the harmony of an immaculate surface.

"[11][12] Olivier Mosset coats his surfaces evenly with semigloss enamel - not so thick, however, that it entirely conceals the slub of the canvas beneath it - a big one all black, a smaller one all white.