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An influential figure in Swiss concrete art, Max Bill took a mathematical approach to produce autonomous, well-balanced, geometric compositions. He described concrete art as “the expression of the human spirit and . . . designed to satisfy the human spirit. It must be clear, unambiguous, and aim at perfection.” Wanting to promote this emerging movement, Bill organized Konkrete Kunst, a group exhibition at the Kunsthaus in Basel in 1944 featuring fifty-six artists working in a non-figurative visual language. His solo exhibition at the São Paulo Museum of Modern Art and participation in the Bienal de São Paulo in the early fifties allowed him to reach an international audience. After Bill’s debut in Brazil, several young Latin American artists moved to Europe to study with him at the Ulm School of Design in Germany, which he founded with graphic designer Otl Aicher and anti-war activist Inge Aicher-Scholl. In the sixties, he became an honorary fellow at the American Institute of Architects and was a member of the Swiss Parliament.