Emilio Vedova working on "Monotipi", workshop Garner Tullis, Santa Barbara, 1989. Ph Richard Tullis, New York


Back in Vienna, this time at the Istituto Italiano di Cultura, Konrad Oberhuber curates a retrospective "Emilio Vedova-Graphik 1958/1990", where the exhibits include litho-‘Plurime’ and folders of lithographs and etchings. The show travels on to the Lodz Muzeum Sztuki in Poland.
Invited to the XLIVth Venice Biennale, exhibits seven Plurimi from the Absurdes Berliner Tagebuch. In the "Ambiente Berlin" international open section, Vedova dedicates a new installation to his friend Luigi Nono, who had died in May; the show would also be staged in Budapest, at the Mücsarnok Kunsthalle.
In October travels to America on the invitation of Garner Tullis to create monotypes in the latter’s laboratory at Santa Barbara, California; Tullis convinces him to spend a month at the Garner Tullis Workshop in New York, during which period he creates new cycles of large monotypes.
Subsequently moves to Spruce Pine in North Carolina, invited by Harvey Littleton to experiment with glass-plate printmaking. Creates there over forty editions of ‘vitreographs’, some of large dimension, using techniques newly invented by himself.
Oversees the exhibition "Vedova – ‘Plurimi binari’ 1977/78, ciclo Lacerazione II'', a solo show dedicated to Luigi Nono at the Istituto Italiano di Cultura di Vienna, as part of Claudio Abbado’s ‘Wien Modern’
Invited by Germano Celant and Maria Corral to contribute to "Memoria del futuro - Arte Italiano desde las primeras vanguardias a la postguerra ", at the Museo Nacional - Centro de Arte Reina Sofia di Madrid, Vedova exhibits ten paintings dating from 1946-1962 and two Plurimi from the Absurdes Berliner Tagebuch.