克莱门特是关于新表现主义及其真实性的有时激烈讨论的中心。由于其相对缺乏政治内容，一些观察家批评该运动本身就是保守和以市场为中心，而不是关注艺术本身的创造。克莱门特回答说，他认为没有必要在他的作品中“篡改现实”，并说他更愿意呈现真实存在的世界。克莱门特最知名的新表现主义作品之一是他1983年题为“名字”的作品。这幅色彩鲜艳的画描绘了一个看起来与克莱门特相似的男人，凝视着观众。他的耳朵，眼窝和嘴巴都有小版本的男人。克莱门特职业生涯中另一位重要的肖像画是他1997年的作品“Alba”，以艺术家的妻子为特色。她经常成为他画作的主题。在肖像中，她斜倚着略微不舒服的姿势。图像感觉就像挤在框架中一样，给观众一种幽闭的感觉。克莱门特的许多肖像都有类似的扭曲，几乎令人不舒服的风格。在20世纪80年代，Francesco Clemente开始与其他艺术家，诗人和电影制作人进行一系列合作。其中第一个项目是安迪·沃霍尔和让 – 米歇尔·巴斯奎特的1983年项目。每个艺术家都开始自己的个人画作，然后交换，以便下一位艺术家可以添加他们自己的内容。结果是一系列充满戏剧性繁荣的画布，可以立即识别为属于个别艺术家;这些繁荣相互碰撞并相互重叠。
Clement is at the center of sometimes intense discussions about new expressionism and its authenticity. Because of its relative lack of political content, some observers have criticized the movement itself as conservative and market-centric rather than focusing on the creation of art itself. Clement replied that he did not think it necessary to “tamper with reality” in his work and that he was more willing to present a real world. One of Clement’s most famous new expressionist works is his 1983 work titled “Name.” This colorful painting depicts a man who looks like Clement and stares at the audience. There are small versions of men in his ears, eyes and mouth. Another important portrait of Clement’s career is his 1997 work “Alba”, featuring the artist’s wife. She often became the subject of his paintings. In the portrait, she reclined a slightly uncomfortable posture. The image feels like being squeezed into the frame, giving the audience a claustrophobic feeling. Many of Clement’s portraits have similar twists and almost uncomfortable styles. In the 1980s, Francesco Clemente began a series of collaborations with other artists, poets and filmmakers. The first of these was the 1983 project by Andy Warhol and Jean-Michel Basquiat. Each artist starts his own personal paintings and then exchanges so that the next artist can add their own content. The result is a series of dramatic and prosperous canvases that can be immediately identified as belonging to individual artists; these prosperity collide and overlap each other.