Josef Albers wrote down the results of his research into color effects in his book ‘Interaction of Color’ (1963) but had already demonstrated them by way of example in his picture series Homage to the Square from the 1950s onwards. Starting out from a square matrix, he developed a pictorial approach with three or four interlocking squares with the aim of presenting the autonomous color as the “carrier of the pictorial plot” and making visible interactions of color, which can be modified at will. His key design theorem – to achieve maximum effect with minimum input – is more than just an economical principle. Albers saw his art philosophically as a parallel to life. With Homage to the Square he endeavored to create “meditation panels” for the 20th century.