Paris attracted not only American painters, but artists from all over Europe, such as the Hungarian Judit Reigl, who arrived in the capital in 1950. During her first years of exile, she produced several important series. In her Centres de dominance, “Reigl now ceased to paint space and began to experience it instead”, “materialising the sense of infinity” by working the paint with circular movements. In her later series Écritures en masse, she used a steel blade to create her work. The title is a reference to automatic writing, the only surrealist practice conserved in her work after her break with André Breton’s group.