22.
Indeed, a younger generation was already experimenting with paintings that more lucidly entered the realm of negation, non-communication and concept. Ian Wallace's Remote (1967) was a hard-edge painting as a ruin of its own process.

A grey on grey grid, Remote left unrepaired the bits of paint pulled off with the masking tape. Other Wallace paintings from the late sixties were almost monochromatic, usually dark and site-specific. Tom Burrows experimented with monochromes and new materials, as did Glenn Toppings. Jeff Wall's monochromes and site-specific paintings (a square of clear varathane on a white wall) also took their cues from artists such as Carl Andre, Robert Barry and Lawrence Weiner. But most of these artists did not pursue painting for long, or pursued it by means of photography. Wallace and Burrows returned to painting in the 1980s.

In fact, it was left to Gaucher himself to deliver a resolution . . .