Ryman spent his career investigating the material properties of painting supports, surfaces, and substrates, often layering canvas and linen in ways that foreground the physicality of art making itself. His minimalist approach to material investigation directly parallels Kahn's exploration of linen on canvas on panel as a subject in its own right.

Marden's early monochromatic panel works engage deeply with material presence and the layered relationship between surface, support, and medium, sharing Kahn's interest in minimalist abstraction through material study. His treatment of linen and canvas as active participants in the work rather than passive grounds mirrors the sensibility of this piece.

Hafif's systematic investigation of painting materials and supports as primary subject matter aligns closely with Kahn's layered material study approach. Her reductive minimalist practice consistently foregrounded the tactile and conceptual relationship between fabric, ground, and panel structures.