Jeffrey Collins posts two essays on painting associated with two artists associated with the Radical Painting Group: Frederic Matys Thursz and Joseph Marioni.

Matys Thursz, in his essay Leger's Palette writes: "To make paintings, I apply the best paint I know to the best linen I can obtain. Alone, I am witness to its making. It is a sensation. I have needed to know that the making of a painting is the sole importance of painting… Making then is knowing. Structure sensed and ultimately seen is cognition. It cannot reject anything necessary to painting. Painting is invention, not reference or anecdote, neither depiction or alliteration (recognize color shape or proportion external to the painting). The residuum of the painting is (the) primordial mark, (of) invented color in (given) sequence."

In the second essay, Carl Belz writes about the work of Marioni. The experience of visiting Marioni's studio, Belz writes, "was entirely grounded in painting, monochrome painting as the genre is generally known, painting pure and simple,  painting distilled to what are perceived as its essentials, its roots – which is why it is sometimes called radical painting or, in the European discourse concrete painting – painting stripped of depiction and illusion, abstract painting, painting not about the world but about painting."