The text analyzes the artistic research of Lucio Fontana, recalling how his famous cuts on canvas stem from his reflection on the two-dimensional nature of painting and his desire to integrate space, gesture, and light into artistic practice. Revisiting the Spatialist Manifestos, the central role of the interaction between surface and space emerges, as well as the importance of artificial light, which Fontana introduced as a constructive element of the artwork starting in 1951.

The article connects these insights to the experiments of contemporary artists who use light and innovative materials.

In particular, Met Devoti is mentioned for his use of light on marble sculptural structures, reinterpreting a classical material through a contemporary and spatial approach. Other artists referenced include Jolanda Coniar, Gennaro Barci, and Franco Gervino, all engaged in formal research that enhances movement, transparency, and luminous interaction, in continuity with the Spatialist legacy.