Frederick Hammersley's "Biased #9" from 1978 presents a commanding geometric composition in oil on linen, measuring 61 × 61 cm, that exemplifies the artist's deeply personal approach to hard-edge abstraction. Painted at the height of his mature period, the square-format canvas reflects Hammersley's insistence on intuition as a guiding force within strict formal constraints, a practice that set him apart from the more programmatic tendencies of his peers in the California abstract movement. The title itself signals the artist's characteristic wit and self-awareness, acknowledging that pure geometry is always inflected by human judgment and feeling. Hammersley was a central figure in the landmark 1959 exhibition "Four Abstract Classicists," which introduced his work alongside John McLaughlin, Karl Benjamin, and Lorser Feitelson to international audiences, and "Biased #9" stands as a refined continuation of the pictorial language that exhibition helped define. His oil on linen paintings from the late 1970s are particularly prized for their surface luminosity and the subtle warmth Hammersley coaxed from pigment applied with meticulous care, qualities that distinguish them from works in other media across his career. The composition rewards prolonged looking, its apparent simplicity giving way to a nuanced dialogue between form, color, and edge. For collectors, signed works by Hammersley from this period represent a meaningful opportunity to acquire a piece of postwar American abstraction with strong institutional recognition and a coherent, well-documented body of scholarship behind it. His paintings are held in major museum collections including the Smithsonian American Art Museum and the Los Angeles County Museum of Art, underscoring the historical weight a work like "Biased #9" carries. Offered through Rago/Wright/LAMA/Toomey and Co., this canvas arrives as a focused and fully realized statement from one of the defining voices in West Coast geometric abstraction.