ready-made assemblage ever. These are examples of radical adaptations of reality, like Armando’s 1964 installation of oil drums at the Gemeentemuseum Den Haag in The Hague. According to the Nul artist, there was little you could do to improve on a piece of isolated reality in its unadulterated form. ‘Everything was beautiful’, Armando said in 1975. ‘Everything was interesting. One big eye, that’s how I felt.’ For Henk Peeters, the choice of synthetic products and plastic cut both ways. The material was free of visual signature, but it was also emphatically unpainterly and an expression of resistance against the academic establishment and the rules of the game. To undermine the retinal aspect of art, the precious and status-based object as a fetish for the eye, Peeters envisaged one more method: to bypass ‘seeing’ altogether and appeal to the sense of touch. Peeters's ‘tactilist’ works of cotton wool, feathers, hair pieces, nylon thread or fake fur are ‘objects of greater interest to senses other than the eye.’ Jan Schoonhoven is the only one who never ‘annexed’ objects or ready-made materials. Schoonhoven saw his reliefs as ‘spiritual reality’, as a representation of forms out of reality and therefore, in a roundabout way, fitting within the Nul idiom. One exception to the rule was his wall of folded and stacked boxes in the Gemeentemuseum Den Haag in The Hague in 1964. If we take a signatureless use of industrially produced material as a requisite, this is Schoonhoven's only ‘pure’ Nul work – not to mention directly taken from reality, since Schoonhoven had spotted the stacked boxes in the attic of the Histor paint factory. Research The 0-INSTITUTE, founded in 2005, has the task of researching, preserving and presenting the works and documents of artists associated with the international post-war ZERO movement and active in to evaluate the ideas of the movement and present them in a contemporary context. The ZERO foundation was established in 2008 - upon an initiative by the Dutch curator Mattijs Visser-, a collaboration between the Düsseldorf ZERO artists with the Museum Kunstpalast. The ZERO foundation has the task of researching, preserving and presenting the works and documents of the German Zero group. Recent attention for Nul and ZERO In 2014 and 2015, the Solomon R. Guggenheim Museum organized the exhibition 'ZERO: Countdown to Tomorrow, 1950s-60s' (October 2014-January 2015), paying tribute to the international ZERO movement and its artists. This