Albers favoured a highly disciplined approach to composition that found its fullest expression in the Homage to the Square series. An ongoing body of work begun in 1949 that grew to include over two-thousand paintings and prints, it allowed the artist to explore colour interactions through arrangements of squares nested within one another. Albers selected his palette with incredible care and attention to detail. Despite the formal constraints of the series, the artist was able to achieve an incredible range of visual effects.

By adjusting the tone, hue and intensity of his colours, Albers created the illusion that his squares were in motion, receding and advancing within the image. Sometimes the colours appear to dissolve into one another and create new colours, leaving the viewer with an afterimage. The artist was concerned above all with using 'minimal means' to achieve 'maximum effect.'

Two years before he created this print, Albers published his iconic text Interaction of Color, which encouraged 'an experimental way of studying colour and teaching colour.' Albers was concerned that art should have a tender, organic basis, regardless of the apparent severity of the subject matter. Working with colour was about engaging with materials in a subjective manner: ‘as we begin principally with the material, colour itself, and its action and interaction as registered in our minds, we practice first and mainly a study of ourselves.'

Albers began the Homage to the Square series in paint, but soon came to depend upon printmaking as a means for developing the formal possibilities that these works offered. Screenprinting in particular offered an evenness and clarity of colour that the artist couldn't achieve with oils or acrylics alone. This screenprint is a classic example of his most important contribution to modern art.

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