A reinterpretation of art history through the prism of light cannot, of course, ignore the Bauhaus. In addition to giving the world iconic lamps such as the MT8 by Wilhelm Wagenfeld and Carl Jakob Jucker, the school founded by Walter Gropius in 1919 was the cradle of important studies of perception. The artists and designers involved in teaching in Weimar, first, and later Dessau would draw on this cultural achievement in their subsequent careers, spent in many cases in the United States.
László Moholy-Nagy, a mentor par excellence, played with the new languages of photography and cinema and set himself the challenge of incorporating a light source into an artistic artifact. His space-light modulator, featured in the film Lichtspiel Schwarz-Weiss-Grau (1933), is a "moving sculpture" that allows the light emitted by a series of light bulbs to dance through forms of different materials, from steel to plexiglass. Josef Albers worked for over a quarter of a century, from 1950 to 1976, on the interaction between color fields within a square, seeking, through repetition, infinite modulations of light and shades of color.
Starting in the sixties, artists such as James Turrell and Dan Flavin used neon bulbs and tubes as a means of expression, giving rise to works that transported the public into a dreamlike dimension. Turrell's Raemar, Blue (1969) deceives the viewer’s senses by creating the illusion of two-dimensionality in a three-dimensional space, while 'Monument' for V. Tatlin, part of a series of 39 sculptures made over three decades, pays homage to the project conceived by the Russian artist Vladimir Tatlin for the Third International, but left on paper, recreating it to scale with a series of fluorescent tubes.