Working in the late 1960s and 70s, when Minimalism and Pop were the dominant modes of artistic expression, Sylvia Mangold was iconoclastic for her focus on the traditional – namely, her trompe l'oeil depictions of wooden floors. However, by faithfully reproducing the floorboards and sometimes incorporating rulers, the artist was equally as interested in exploring the complex relationship between space, light, viewership and the overall aesthetics of encountering art in space as her Minimalist contemporaries. “If Minimalism was about getting down to irreducible essentials, the limit – Carl Andre placing bricks or sheets of lead on the floor of a pristine white cube – Plimack Mangold went one step further and got down to the floor itself. By doing so, and remaining true to the pattern of the floorboards, she incorporated aspects of Minimalism into her painting without succumbing to its flamboyant rhetoric about keeping the paint as good as it was in the can. Having attitude was of no interest to her,” (John Yau, ‘Sylvia Plimack Mangold Has the Floor,’ ‘Hyperallergic,’ 20 March 2016). The artist has held many solo exhibitions, including the Museum of Fine Arts, Boston, the Neuberger Museum of Art, Purchase, and the Albright-Knox Art Gallery, Connecticut.