Chryssa used the same screens to print this work as she did for Gates to Times Square (Red, Fuschia, Blue), thus maintaining the same shapes and compositional structure and only changing the colors. That is, all but one color: the dark-blue lines on the right are printed in the exact shade of blue as their counterparts in Red, Fuchsia, Blue. Repeating the identical form and maintaining one color offers something like the control of a scientific experiment and allows the artist to experiment with variable color interactions. In this case, the value of the field behind the blue lines is much darker, making them appear lighter than in Red, Fuchsia, Blue. At the same time, these two shades of blue are much closer in value than the relatively higher contrasting blues on the left. Thus the separation between figure and ground on the left becomes easier to read, apprehended in a moment.
–When We Were Young: Rethinking Abstraction From The University At Albany Art Collections (1967-Present)