 In 1959 Fontana exhibited cut-off paintings with multiple combinable elements (he named the sets "quanta"), and began "Nature", a series of sculptures made by cutting a gash across a sphere of terracotta clay, which he subsequently cast in bronze.Fontana engaged in many collaborative projects with the most important architects of the day, in particular with Luciano Baldessari, who shared and supported his research for "Spatial Light – Structure in Neon" (1951) at the 9th Triennale and, among other things, commissioned him to design the ceiling of the cinema in the Sidercomit Pavilion at the 21st Milan Fair in 1953.Around 1960, Fontana began to reinvent the cuts and punctures that had characterized his highly personal style up to that point, covering canvases with layers of thick oil paint applied by hand and brush and using a scalpel or Stanley knife to create great fissures in their surface.