 At the same time, he was a member of several ensembles dabbing in minimalist music and musique concrète whose productions crossed the boundary between theatrical and performance and animated sculptural installation.At the turn of 1980s and 1990s, Petr Kvíčala’s work seemed to display an affinity with the broad stream of post-modernist Czech painting as hinted at by the clear colours of the paintings, which enclosed colour surfaces within boundaries and used archetypal-geometric elements.Today, such a general classification is less justifiable.