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The show traces its influence on his work until 1950, when he forsook Futurism to become a co-founder of the abstractionist Concrete Art Movement in postwar Italy.
Having trained at the Bauhaus and taken much from Van Doesburg's "Concrete Art Manifesto" (1930), Bill stood for clarity of design in painting, industrial design, architecture and writing.
But now a piece of concrete art in the middle of a new town housing estate finds itself among the most protected structures in the UK.
They mark a long distance travelled from the original concrete art that influenced Torres García, and are among the visual revelations that pack this fascinating show.
As Max Bill explained: "We call 'concrete art' those artworks that emerged on the basis of their very own means and rules – without extrinsic reference to natural appearances or their transformation … concrete art in its final consequence is the pure expression of harmonious measurement and law".
The traditional definition of painting as a visual, concrete art form was questioned by Conceptual art, in which the painter's idea might be expressed only in the form of documented proposals for unrealized and often unrealizable projects.
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Pestalozzianism, pedagogical doctrines of Swiss educator Johann Heinrich Pestalozzi (1746 1827) stressing that instruction should proceed from the familiar to the new, incorporate the performance of concrete arts and the experience of actual emotional responses, and be paced to follow the gradual unfolding of the child's development.
It sits like a great ruin on a bluff above the Great Falls, a graffiti-spattered, poured concrete, Art Deco monument to better times in the Rodney Dangerfield of New Jersey cities.
The design combines the existing 1939 concrete Art Deco-style building, unoccupied since 2004, with a new metal-clad, skylighted structure that will include galleries, a 32-seat screening room, a store and a learning center.
Pursuing myriad forms of expression and production, Schonzein creates concrete lamps, art postcards and miniaturist cameos of King Charles Spaniels.
Moments later, it was Francis Bacon's turn to cause a stir with a picture also set in the concrete of art history.
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