1961
Solo exhibitions in Italy and abroad multiply, in which he exhibits ceramics and oils. He participates in the IV Biennale of Contemporary Italian Engraving in Venice, where he is invited to Arte e contemplazione, an exhibition held at Palazzo Grassi. There he exhibits the oils dedicated to the lagoon city, later presented again in New York.
He creates a neon sky for the Hall of Energy Sources, designed for Italia '61. In Albisola, with other artists, he creates mosaics for the Artists' Promenade, inaugurated in 1963. He works intensively on holes, slashes and especially oils, which allow him to inscribe the mark traced by the gesture.
1962
The stay in New York the previous year is a source of inspiration for the cycle of metals, exhibited at the Galleria dell'Ariete in Milan, an interpretation of the metropolis's skyscrapers. He continues to work on oils, using mainly white and pink, applied on surfaces then perforated and slashed. He concludes a new cycle of holes.
1963
Enrico Crispolti organizes in L'Aquila Aspetti dell'arte contemporanea and a Tribute to Fontana, among the most significant critical retrospectives of the period.
1964
Under the title Les Œufs célestes he exhibits the End Of God cycle at the Galerie Iris Clert in Paris, later presented again at the Galleria Marlborough in Rome. He participates in international exhibitions: Tate Gallery in London, Hannover with Burri and Capogrossi, Buenos Aires, New York.
He works on oils, slashes and begins the cycle of little theaters.
1965
He exhibits in Turin, at the Galleria Notizie, at the Galleria Blu, at the Galleria Apollinaire in Trieste and at the Centro Arte Viva Feltrinelli. Numerous exhibitions abroad. Critical essays by Italian and international scholars multiply. He works on some metals, on oils, on little theaters.
1966
He titles the works Attesa (singular) and Attese (plural), concepts linked to his spatial metaphysics. He holds solo exhibitions at the Walker Art Center in Minneapolis, at the University of Texas Art Museum in Austin, and at the Centro de Artes Visuales "Torcuato Di Tella" in Buenos Aires.
The Museum of Modern Art in New York consecrates him, together with Burri, with a traveling exhibition. He concludes the cycle of little theaters.
1967
Between January and October, a traveling solo exhibition touches four cities in Northern Europe. He exhibits in Paris, New York and at the Galleria Marlborough in Rome with "ellipses" and fire-painted metal sculptures.
He designs spatial environments for the Stedelijk Museum in Amsterdam, for the exhibition Lo spazio dell'immagine at Palazzo Trinci in Foligno, and for the Galleria del Deposito in Genoa. He works on oils, holes, slashes, and experiments with "ellipses": colored elliptical boards and futuristic sculptures on metal stems.
He is interviewed by Carla Lonzi, who will publish the interview in Autoritratto (1969).
1968
He leaves Milan for Comabbio, near Varese, where he renovates his father's house and moves his studio there from 23 corso Monforte. For the XXXIV Venice Biennale he has a spatial environment created, and designs a white labyrinth for Documenta 4 in Kassel.
The visitor traverses a path that leads to a single slash, symbol of the absolute aesthetic operation, which borders on infinity. Exhibitions multiply. A photographic monograph is published with images by Ugo Mulas and poetic texts by Nanni Balestrini.
He continues to work on oils, holes, slashes.
