In Turkiz, Vasarely created a dynamic tension among the colors, shapes, and three-dimensional forms, by which the raised and recessed surfaces vie with the vivid colors for visual presence. The idea that movement was not only to be found in action, but was also an aesthetic principle unto itself was central to Vasarely’s work. In 1955 he wrote his famous Yellow Manifesto, in which he outlined the tenets of kinetic art, artworks that incorporate either perceived or physical motion, and, together with the influential art dealer Denise René, organized the exhibition Le mouvement (The Movement) at René’s Paris gallery. Vasarely’s influence shaped kinetic art internationally, especially among the artists active in Paris, including Martha Boto, Carlos Cruz-Diez, and Julio Le Parc, whose works are on view nearby.
"Acquisitions of the Art Museum 1971," Record of the Art Museum, Princeton University, 31 no. 1 (1972): p. 20-32.