"The color optics of the Concentric Squares
and Mitered Maze Paintings
is dizzyingly kaleidoscopic. Continuing the use of Benjamin Moore paint, and continuing to paint tightly masked stripes in a concentric manner, Albers' color interactions are amplified into high-intensity friction. Just as Stella had previously asked himself how much of a painting could be taken away and still have it be read as a painting, he now seemed to be asking how much color could be fitted into a pictorial structure."
Michael Auping, "The Phenomenology of Frank: Materiality and Gesture Make Space," in Exh. Cat., New York, The Whitney Museum of American Art (and traveling), Frank Stella: A Retrospective, 2015, pp. 24-25