Schawinsky’s tireless pursuit of exploring the possibilities of painting culminates in the ‘Track Paintings’ (from the late 1950s to the mid 1960s) presented at Paris Internationale. For this series of works – some extending up to five meters in length and constituting the largest of his oeuvre – he employed a car as an instrument in the painting process. Read within a field of tension that characterizes his entire body of work, these paintings oscillate between the poles of man and machine. From an art historical perspective, Schawinsky thus assumes a mediating position between Abstract Expressionism and the emerging practices of the Happenings.