"By early 1965...Gilliam began with bare cotton-duck canvas, unsized and unprimed. He drew his initial design using adhesive tape—it was typical for Color School painters, except for the late Morris Louis, to rely on some form of mechanical assistance to establish their composition. Using a brush, Gilliam proceeded to paint with exactly the same brand of acrylics employed by his colleagues...The viscous pigment soaked directly into the fabric and stained the cotton fibers. In the finished product, as in all classic Color School painting, surface and color are indistinguishable from each other. Surface and design are one."
Jonathan P. Binstock in Exh. Cat., Washington, D.C., Corcoran Gallery of Art, (and traveling), Sam Gilliam: A Retrospective, 2005, pp. 16-17