Krauss's ideas were introduced to the School by Claudio Girola, who linked him to his work; Mendez, for his part, did not quote the text, but -as we will demonstrate through his writings and exercises-in his work there is a reflection on the theory of the expanded field. We propose that this architect managed to adapt the approach of the North American historian to his work, suggesting an analysis of painting that surpassed the medial specificity to relate to the environment, thanks to a no longer two-dimensional and rigid support, but open and ambiguous.