By the mid 1980s, in counterbalance to the strict dogma so often associated with minimalism and abstraction, Morellet began to use wordplay in his titles rather than the previously prescriptive mathematical formulas, indicating a natural sense of humour and irreverence. For example, the large-scale neon installation Sous-Prématisme no. 1, no. 2, no. 3, of 2010 refers directly to the work of Kasimir Malevich - whose strict brand of Constructivism or ‘Suprematism’ made a significant impression on Morellet but which he ultimately found overly “serious”. In subsequent works other self-imposed rules were also relaxed including his breakaway from the square and the limitations of the vertical/horizontal.