Rothko shared Scully's deep commitment to geometric abstraction through luminous rectangular color fields that explore emotional resonance through light and color relationships, directly paralleling the layered chromatic intensity seen in the Chelsea Wall of Light series.

Albers devoted his practice to systematic exploration of how colors interact within strict geometric frameworks, a pursuit that mirrors Scully's investigation of light and color through repeated rectangular forms in oil on canvas.

Marden's early monochromatic panel paintings and later works share Scully's emphasis on geometric abstraction with oil paint applied in rich sensuous surfaces, exploring color as both physical material and atmospheric light.