Schwarz
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"Mosset moves to New York in 1977 and begins to paint monochrome paintings that deal with abstraction as silence, mutism and ineloquence. It seems that Mosset has reached a logical end point of painting, in the sense that it is difficult to imagine what can follow from his line of reasoning without crossing the line between art and non-art, excluding the thorny but brilliant interposition of Duchamp's readymade. This is perhaps not a unique occurrence in the history of art. Rodchenko's Red, Yellow, Blue or Ryman's white paintings are also logical end points. Mosset does not demarcate the limits of painting, however, because he has something fundamental to say about the process and result of painting, and is thus in some sense at the centre of it all, rather than at the edges.