Concrete Art Imre Kocsis Z.IV.78-79. Series of 3 works. 1978-79. ink on light, smooth wove cardboard. 29.7 x 21 cm. Each monogrammed and titled verso. - Each with inscription by another hand in pencil verso. Minimal and decidedly delicate browning due to the paper, one work somewhat stained in places verso. Overall in very good condition. Clear composition. The three reduced ink compositions occupy a special position in Imre Kocsis' oeuvre, combining his clarity of drawing with an almost ascetic formal language and thereby opening up new insights into the intellectual and meditative depth of his work. While Kocsis became known above all for his expansive installations made of pressboard and his concrete-constructive prints, these ink works mark a subtle but significant shift into the immaterial and ephemeral. His early graphic works already reveal a strong interest in serial structures, linearity and contrast. However, in the ink sheets of the late 1970s, the line is no longer used as a creative means of constructing form, but as an elementary sign that organises the sheet without dominating it. This step towards radical simplification can be interpreted as a consistent further development of his constructive approach and as an attempt to condense the language of geometry to an existential minimum. Z.IV.78-79. Series of 3 works. India ink on light, smooth wove card. Each monogrammed and titled on verso. - Each with inscription by another hand in pencil on verso. Minimal and very delicate browning due to paper, one work on verso somewhat stained. Overall in very well preserved condition. Clear composition. - The three reduced ink compositions occupy a special place in Imre Kocsis' oeuvre, combining his graphic clarity with an almost ascetic formal language and opening up new insights into the intellectual and meditative depth of his work. While Kocsis became known above all for his expansive installations made of pressboard and his concrete-constructive prints, these ink works mark a subtle but significant shift into the immaterial and ephemeral. His early graphic works already reveal a strong interest in serial structures, linearity and contrast. However, in the ink sheets of the late 1970s, the line is no longer used as a creative means of constructing form, but as an elementary sign that organises the sheet without dominating it. This step towards radical simplification can be interpreted as a consistent further development of his constructive approach - as an attempt to condense the language of geometry to an existential minimum. 900