This work marks a return from the near-silent, almost monochromatic white surfaces that characterized Usami’s later paintings, back through his exploration of abstract lines and planes, to the observational sketches of actual structures seen in works such as Building, Anti-Building, Meguri 8 (c. 1958–60).This work is regarded as a turning point in Usami’s career, marking his move beyond the framework of abstract painting toward a new phase of artistic expression.
For the Keiji Usami Retrospective held at Sezon Museum of Art in 1992, this work was acquired together with five other early paintings in order to complete the Museum’s collection of the artist’s oeuvre.