After 1990 he created the "Gong" pictures, which have a slightly tilted large square in the middle and are designed in different, sometimes very powerful colors. In 1993, a bright yellow horizontal bar was introduced as a new element, which exudes vitality. The bars then grow out into oblique fields of color that fill most of the space in the picture. It is certainly a conflict with the colourfulness of India, on whose west coast near Goa these paintings were mostly made during the winter between 1986 and 1994; and in them the inner color is modulated all the more vigorously in the strong light-dark contrast. At the same time, these paintings are traced back to this circumstance by titling Indian places, as much as a descriptive title matter is excluded. This designation may also be simple color drawings, as this has remained the most helpful designation of Lothar Quintes' pictures in order to emphasize the non-figurative character. In the late 1990s, completely new concepts emerged. The work "Bicolor" shows a precisely painted, vertically positioned red field made of a rust-red transparent background, which darkens towards the top and can thus suggest an illusory landscape. The counter-rotating, monochrome paintings, initially called "Vis à Vis", then "Mirror Images", resulted from the wedge images, which were initially developed from two contrasting, then also monochrome gradients and were raised from their previous oblique composition. In doing so, Lothar Quinte again succeeded in increasing the colored presence and eliciting culinary aspects from the colorful plucking ground that make his paintings into that conceptual painting that lives from the almost pure pigment and its abstract content. At best, her independence ties her to the avant-garde - a term that one wanted to abandon in favor of cheap and easily usable pictures - Quinte Internationality strongly contradicts this.