Henk Peeters also considered monochrome a levelling effect that could bridge contradictions across the two-dimensional plane, although his work was never as explicitly monochrome as Jan Schoonhoven's. Armando saw a straight line from his monochrome oil paintings of the late 1950s to his assemblages of bolts and barbed wire during the Nul period. In both instances, to Armando, monochrome was a farewell to the psychology of the maker; the monochrome surface is frozen and anonymous – as far as it goes. In Jan Henderikse’s work monochrome played a far more modest role, although in 1959 he was already painting his earliest assemblages black. Mass and multiplication were Henderikse’s major methods of reducing the personal element: ‘I hate little stories but I really love a lot of stuff, of all those things people love, everyday things especially. It’s always been that way.’ The Grid Archetypal Nul work seems constructed out of a multiplication of uniform and isolated forms, objects or phenomena: as repetitions of steel bolts, of matchboxes, of identical white surfaces grids of burn holes and cotton balls. In 1965 Schoonhoven made bold pronouncements on seriality, on the repeated pattern of identical elements. Organization ‘. . . comes out of the need to avoid partiality’ and had nothing to do with geometric structure. To Jan Schoonhoven, Nul's method was driven by its intentions, by the consistent acceptance of isolated reality without accentuating any one thing, with no high points or low points. Armando spoke of ‘intensifying one of the elements out of which a painting used to be constructed’, because ‘. . . combining fragments is an obsolete method.’ Seriality was their common way of expressing their refusal to compose, although each found his own material and method: Armando's seriality is more frozen than Henderikse's, harder than that of Peeters and more direct in material than Schoonhoven's. The Everyday and the Ordinary Even machine-made objects and materials proved ideal for taking the personality aspect out of the work. The choice was not linked to any deeper notion; the material is most of all ‘itself’ in all its ordinary beauty. This acceptance of reality implied that the contribution of the artist, aside from making the choice, was often reduced to a minimum. In 1960 Jan Henderikse signed Düsseldorf's Oberkassel Bridge in whitewash; three years later he made plans to sign a HEMA shop in Amsterdam, to turn it into the biggest