Jean-Luc Manz’s paintings, which he has been making since 1977, could be described as geometric abstractions. However, they share very little with the Swiss Concrete art tradition. They refer instead to the practices of John M Armleder and Helmut Federle. Their geometric vocabulary is infused with expressive stances and appropriation, as if they wanted to recreate, through the act of painting, a relationship with the world. Manz’s notebooks, published here for the first time in this 1,000-page volume, prove that his compositions are anchored in a system of correspondence with the art of the past—from Islamic decorative art to Egyptian memories, everyday encounters, and his personal life.