Created during Albers' most productive period following his departure from Yale, this 1966 work exemplifies the artist's systematic exploration of color interaction and optical perception. The square format and precise dimensions reflect his commitment to the geometric principles that defined his revolutionary "Homage to the Square" series. Edition 63 of 125, the piece demonstrates Albers' embrace of printmaking as a democratic medium for disseminating his investigations into the subjective nature of color experience.