1980      Creates several large works in paper. Film by Rawn Fulton on his life and work starts in April and continues during the following eight months, becoming an important document on the process of his work at all stages. The Kupferstich Kabinett, Staatliche Museen (Dahlem Museum), in West Berlin acquires his work in paper No. 40 (Präsentia) for their permanent collection, to be shown in the exhibition “Prints, Changes in a Medium since 1945” (June 4-Aug. 16, 1981). Makes the work in grass on the abandoned tennis court of his home. Works on maquettes for ceramic, stone, wood, and metal sculptures as further development of his search for form relationships. Together with Dieter Ronte visits Inge Morath and Arthur Miller in Roxbury. Through the next twenty years of friendship, until her death, Inge created the Portrait Gallery, documenting the Société Imaginaire.  
     
  1981   One-man shows at the Kunsthalle Nuremberg, West Germany, which acquires the work in paper No. 44, Museum Moderner Kunst, Vienna, which acquires the work in paper No. 78. A hard cover monograph on “Batuz: Works in Paper” came out, designed and printed by Harry N. Abrams and published by Rizzoli with 176 pages, 120 illustrations and texts by Dieter Ronte, Ronald A. Kuchta, Rafael Squirru and Curt Heigl. Werner Schmalenbach and Dieter Dube separately visited Franton Court. Birth of third son, Tas.  
     
  1982   From January to April works on huge paintings in Blanton, Florida. One-man shows at the Hara Museum of Contemporary Art, Tokyo, Japan, which acquires the work in paper No. 152 and Indianapolis Museum of Art, Indianapolis, Indiana.  
     
  1983   Begins series of drawings on large size papers in pastels.  
     
  1984   Begins notes on the Société Imaginarie. Notes 84-89 became the subtext for Batuz to initiate the undertaking. One-man show at the Gulbenkian Foundation, Lisbon, Portugal, which acquires three of his works. Through the intervention of the cultural authorities in West Germany, Schloss Schaumburg becomes his working and living facilities during his stay in Europe, where he creates a large series of new works, between them one of the most important, the Lahnthal painting. He is invited by the Senate of W. Berlin to create a project for a monumental sculpture for that city. Made from living plants he decided to call it The Living Wall. The presentation of this working model takes place in Bad Ems in October. Michel Butor present, writes a declarative text on illumination.  
     
  1985   Erick von Steingräber, former general director for the Staatsgemäldesammlungen Bavaria acquires No. 187 for their permanent collection. Pierre Restany visits Batuz in Schaumburg.  
     
  1987   First meeting of the Société Imaginarie.  
     
     For further historical information see our History section.  
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