In 1968, the exhibition called ‘The Art of the Real’ was held in the USA and then shown in Paris, Zurich and London, bringing together the most key approaches to minimalist art. In the same year, Schene visited documenta 4 in Kassel, where he saw work by the minimalist Ronald Bladen. In 1969, with Trophy III/69, Schene took the final step into Minimal Art. The object consists of two long pieces of different sizes, leaning against the wall on the beveled narrow sides. The perspective, strengthened and shortened by a beveled edge, introduces a dynamic element. In this way Schene incorporated the element of the viewer’s movement and extended the spatial effect of his objects by the fourth dimension, time. Schene wanted viewers to move around his work in order to grasp it completely. He intended, as it was customary at the time, to insist that the viewers put something into the work themselves, thus showing active commitment.