The 1960s saw the emergence of a new art movement in Italy; it included several artists who are now famous, such as Alighiero Boetti, Jannis Kounellis, Mario Merz, and Michelangelo Pistoletto. The hallmark of their art is the use of simple means and humble materials like soil, glass, tree branches, neon lighting, or wax. Their works contrast with, and articulate a critique of, an environment ever more dominated by technology and the production mechanisms of mass culture. In a form of stylistic anarchy, pictures, objects, installations, and performances seek to chart a way back to natural processes and laws. The poor, porous, or fluid nature of the compositional means is intended to open perception to “the basic flux of energy underlying all things” (Carolyn Christov-Bakargiev). Works result that emphasize the process and navigate the tensions between nature and culture, between anarchy and order. At the same time, these “visualized perceptual processes” interrogate the grand cultural heritage—of antiquity and the Renaissance—in a sensual and poetic manner.