Robert Linsley considers the work of Emilio Vedova as an important precedent to the later work of Frank Stella.

Linsley writes: "The Plurimi of Emilio Vedova are clear precursors of Stella’s relief paintings, and the differences between the two groups of work are revealing. Vedova’s works had an origin in sets for an opera by Luigi Nono that he had done in 1961. The effort was to make an enveloping space, to place the viewer within the work… Vedova is trying to spread, to conquer space; Stella, as he has often said, stays pictorial, if pictorial means a kind of gathering of everything together in front of a ground plane."