displays that "problematized the artistic process itself" while keeping an "apparent distance from governmental endeavors to instrumentalize art," even though the gallery was publicly funded. Stażewski thus had an opportunity to exhibit reliefs in a more experimental and experiential space. At Foksal, Stażewski facilitated connections with international artists. Throughout the 1970s, he worked alongside Włodzimierz Borowski, Tadeusz Kantor, Allan Kaprow (exhibited at Foksal in 1976), Christian Boltanski (1978), and Anette Messager (1978), among others. Outside of Foksal, he acquainted the French conceptual artist and art theorist Daniel Buren. Stażewski and Buren would later collaborate on a project at Galerie 1–36, an experimental gallery space active in Paris between 1972 and 1976. He also developed a close artistic relationship with Edward Krasiński. He and Krasiński shared a studio-apartment at Aleja Solidarnosci in Warsaw from 1970 until Stażewski's death in 1988. The space, which had served as a salon for Polish artists and intellectuals throughout the remaining three decades of the communist rule in Poland, was later renamed the (Avant-garde Institute) and opened to the public in 2007. Stażewski experimented with color and geometry in diverse visual and aesthetic registers until late in his career. In 1970, he participated in the art symposium Wrocław 70 where he showcased Infinite Vertical Composition (9 Rays of Light in the Sky), an artwork made of colorful beams of light projected onto the night sky that released color from its previous pictorial confines. In 1972, the Dallas Museum of Art included Stażewski in Geometric Abstraction, 1916–1942, a survey show of geometric abstract art in the first four decades of the 20th century. In 1976, he was featured in Constructivism in Poland, 1923–1936: Blok, Praesens, a.r., an exhibition devoted to the history of Polish Constructivism organized at the Museum of Modern Art in New York, which traveled the same year to the Detroit Institute of Arts, the Albright-Knox Gallery in Buffalo, and the Art Institute of Chicago. That year, the artist was awarded the Herder Prize for his contributions to the visual culture of Central and Eastern Europe. Later in the 1970s, Stażewski began exploring the visual properties of line. His paintings and drawings from that period show an investigation into the possibilities afforded by line, including the monochromatic grid. Geometry remained a critical reference point for the artist and he considered it an "innate measure in the eye of every man, allowing him to grasp relations