Since the mid-1960s, Mel Bochner (1940, Pittsburgh) has been developing work characterized as Conceptual art, in which measurement is key. His Measurement Paintings in three rooms on the third floor represented the painted expression of a method for assessing space. They were monochrome acrylic canvases on which Bochner had drawn arrows and numbers indicating the length of the arrows in inches. The paintings were arranged in patterns of varying complexity so that each painting lost its autonomy to the benefit of the composition as a whole. They highlighted the importance of the wall, the room, and the museum in constructing the environment in which they were placed, or with which they were confronted. Paradoxically, the Measurement Paintings measure nothing other than themselves, and rather declare their artistic process. This process is embodied by the painting, rather controversially tending toward the idea of the dematerialization of art. As a theoretician, Bochner has been following the emergence of this trend and its historic development.