大门

The Gate was painted in 1959–60 as part of a series of works loosely devoted to architectonic volumes. Hofmann used rectangles of color to reinforce the shape of his essentially unvarying easel-painting format. Although The Gate is subjectless, Hofmann insisted that, even in abstraction, students should always work from nature in some form. With determination, a viewer can see that the complex spatial relationship established by the floating planes of color begins to resemble the gate of the title.