Stella pioneered shaped canvas works in the 1960s and 1970s that share Noland's commitment to geometric abstraction and non-rectangular formats where the canvas edge becomes integral to the composition. His use of acrylic and bold chromatic relationships on unconventional supports directly parallels the approach seen in Resect.

Kelly similarly merged color field sensibilities with shaped canvas formats, creating works where pure chromatic fields occupy sculptural panel configurations that blur painting and object. His rigorous geometric abstraction and attention to how form and color interact as unified elements closely mirror the qualities present in Resect.

Olitski was a central figure in color field painting alongside Noland and shared his deep investment in acrylic paint as a vehicle for chromatic exploration and optical sensation. His work from the same period demonstrates comparable concerns with how color operates across a shaped or unconventionally proportioned surface.