A direct student of Albers at Yale, Anuszkiewicz built his career on the same principles of optical color interaction and hard edge geometric abstraction seen in Mitered Squares, using concentric and interlocking square forms to create vibrating perceptual depth and chromatic tension.

Vasarely pioneered Op Art through precise geometric compositions using squares and angular forms that create illusions of spatial depth and movement, sharing Albers' commitment to color theory and the systematic exploration of how hues interact within structured geometric frameworks.

Stella's early systematic geometric prints and his rigorous use of repeated angular and mitered forms echo the compositional logic of Mitered Squares, with both artists producing limited edition prints that foreground the formal relationship between geometric structure and optical perception.