Though surprisingly small, this selection gives examples of most of his bodies of work: from his experiments with abstract expressionism-the "Veils"-and through the "Stripes"/"Columns." Two early abstract paintings, "Silver III" and "Untitled 5-76," create an altar around the monumental "Dalet Beth." The small room doesn't grant "Dalet Beth" much space to breathe; instead, it commands the viewer's full attention. Though Louis may have wanted his work to be purely about color and process (and the modernist notion of acknowledging the materiality of surface and paint), it is hard to not read into this painting as a symbol of monumentality and power. It is a large, loose, soft trapezoid of bright orange, pink, and green, diluted and stained onto canvas so that the colors run into each other, mixing, mingling, and muddying. And then another shadow of color almost entirely envelopes all of those hues. At the edges of this shape, the viewer can see the original layers of pigment in their pure form. Standing right in front of it, these colors aren't your central focus, but they beckon you from your periphery.