What inspired him in this regard was the Parisian atmosphere he encountered visiting the city and meeting important artists such as Roberto Matta and Alan Jouffroy.
In 1962 he met Marcel Duchamp, in 1964 John Cage in New York, who invited him to explore the new frontiers of abstract impressionism and pop art. The American experience ended with the creation of the canvases Altre tracce, which feature black stripes showing the inner turmoil of the artist and the modern man, struggling with technological innovations and a society that tends to exclude rather than include.
Noteworthy is his participation in the New Realists exhibition held in New York in 1962 and organized by Pierre Restany, which included artists such as Schifano, Festa, and Rotella.
Gianfranco Baruchello's production shows itself quite autonomous from the early years, although the influence of the avant-gardes that followed throughout the 1900s is still noticeable. For this reason, in 1963 he decided to inaugurate his own exhibition at the Galleria La Tartaruga di Roma, where he developed his philosophy based on fragments, miniatures, and large white canvases rich in writings and seemingly random geometric lines. The references are directly to a society tending towards consumerism and excessive haste, immediately discarding newly purchased products to buy always new ones.
He was also intrigued by the world of television, which he reproduced with subtle references on large surfaces, using slogans and symbols to show how sometimes the reality of the small screen can be empty.
The 1960s were a time of great ferment, as the author also decided to venture into the film world, creating over the years Molla, Il grado zero del paesaggio and Verifica incerta. Using scrap materials, he devised a series of works made with film strips mounted together. There is also a large production of literary texts, which fully reflect his worldview and make it understandable even to a devoted audience of admirers.
In 1973 he founded the Azienda Agricola Cornelia just outside Rome. Its purpose was to expand and incorporate the adjacent land, saving it from real estate speculation in a perspective reminiscent of the currently widespread concept of sustainable enterprise at a natural level. He therefore developed an interesting reflection on the relationship between man, agricultural product, and artistic product, actively participating in the management of the activity and theorizing some interesting economic laws still valid today.
This experience led him to paint pictures related to the territory, which he exhibited in a show at the Galleria di Milano, giving a famous interview of which unfortunately only the answers remain.
At the end of the 1980s the company was dismantled and in its place Gianfranco Baruchello proposed the project Il Giardino, which he presented in 1989 at the Festival Voci sull'acqua di Spoleto, where he performed a piece caring for a small Gingko Biloba bonsai.
The aim was to emphasize how the garden of the mind must always be nurtured and treated with the utmost respect.
In 1998 he created the Baruchello Foundation in his former home on the hills of the capital and in 2011 a retrospective exhibition was dedicated to him at the Galleria Nazionale d'Arte Moderna di Roma.
Numerous are the recognitions received, including one at the Deichtorhallen Sammlung Falckenberg in Hamburg and the appointment as artist of the year 2016 by Radio 3.