The present work was executed in the same year that Cohen exhibited to great acclaim at the 1966 Venice Biennale in the British Pavilion alongside Anthony Caro, Richard Smith, Harold Cohen and Robyn Denny. David Thompson aptly surmised in the introduction to the exhibition catalogue that 'Cohen's image is his continuous line. Sometimes it makes a shape which suggests meanings of its own. More often it is a self-defining activity, whose object is to annexe the white space of the canvas like an army of occupation over-running foreign territory. Its opponent is the light of white canvas, which it combats and overlays not so much by line alone or by colour, as by the massed tonal quality in the build-up of linear activity itself'.
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