This work refers directly to Stella's Mitered  Maze paintings, begun in 1962. Prior to this series, the artist's work had emphasised the  flatness of the picture surface, but the addition of four diagonal lines into his compositions introduced a new sense of spatial illusionism. In many of these works, Stella took the ingenious step of offsetting one of the lines from the corner of the canvas, preventing the four from meeting in the exact centre of the composition. This disruption to the rotational format of the image has the effect of drawing the eye deeper into the maze, and creates a rhythmic sense of push and pull. However, since the bands of colour maintain a uniform width throughout the painting, there is ultimately no illusion of receding depth, and the flatness of the picture surface remains dominant. The overall complexity of the effect is accentuated by the double-square format of this particular image.

Taken from the portfolio Ten from Leo Castelli, published to celebrate the tenth anniversary of Castelli's New York gallery in 1967. The set also included works by Jasper Johns, Roy Lichtenstein and Andy Warhol. 

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