For almost three decades (1930s–1965), Diller pursued the three compositional variants he had devised for his geometric abstractions. While most of these works were executed in bright red, blue, yellow, black, and white paint, others were limited to black, white, and gray, which emphasized structure over movement. When this painting was shown in New York in 1949, Diller was well-respected within the American arts community, but shortly thereafter he was eclipsed by the Abstract Expressionists whose emotional, gestural paintings were the opposite of his highly controlled, intellectual designs.
William Benenson, New York (by 1961–91; his gift to MMA)
New York. Pinacotheca Gallery. "Burgoyne Diller," November–December 1949, no catalogue.
New York. Galerie Chalette. "Diller: Paintings, Constructions, Drawings, Watercolors," May 1961, no. 21 (lent by Mr. William Benenson).
New York. Washburn Gallery. "Referencing Mondrian No. 1: Burgoyne Diller, Fritz Glarner, Harry Holtzman, Charmion von Wiegand," October 17–November 18, 1995, not in catalogue.
Bronx Museum of the Arts. "Grand Concourse Centennial Exhibition," March 1–July 20, 2009, not in catalogue.