 Another work from that time, "Trinità (Trinity)" (1966), consists of three large white canvases punctuated by lines of holes, embraced in a theatrical setting made from ultramarine plastic sheets vaguely resembling wings.In the last years of his career, Fontana became increasingly interested in the staging of his work in the many exhibitions that honored him worldwide, as well as in the idea of purity achieved in his last white canvases.These concerns were prominent at the 1966 Venice Biennale, for which he designed the environment for his work.