The numerous linguistic mutations that, over time, have alternated in Nigro's painting, represent consistent declinations of some guidelines: a conception of the artistic experience as a cognitive activity, the exclusive interest in an abstraction devoid of naturalistic references. These aspects converge, after the Second World War, his personal expressive story with that of the MAC - Movement for Concrete Art. The neoplastic assertion, recognizable in the structuring of the image, will later be deeply reworked in the light of the vibrant perceptive mobility of its geometric textures, as well as the emotional and "musical" values attributed to the chromatic agreements: aspects that stand out in particular in the cycles of works named Total Space and Total Time. From the sixties onwards, his work will register a progressive compositional rarefaction, occasionally akin to the results of minimalist research, and will probe the possibilities of interaction between painting and architecture. The work included in the Ekilibrio Foundation collection is among the most representative of the fundamental total space cycle, with which Nigro, after analyzing the plastic elements in their repetitions, variations, simultaneity and coincidences, reaches a conception of space in which, to use the the artist's words «form and space resolve each other in an overcoming of physical two-dimensionality (…). Total space can be referred to an abstract expression and to relativistic science that is capable of regulating and justifying the relationships between the compositional elements. "