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From the outset, the paintings of Ad Reinhardt (1913-1967) were from the start defined by clear, geometric forms. An encounter with Josef Albers in the late 1930s influenced Reinhardt’s subsequent approach to color, and the two artists maintained a lifelong respect for one another’s work. The sympathies between their arts lie in the extremity of their geometric reductions, which Reinhardt eventually also applied to color by reducing it to minutely differentiated squares of black on a five-square-foot canvas; but both Albers and Reinhardt envision painting as an art of geometric combinations of color. This volume surveys their affinities.