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ainted layers reveal small amounts of blue, yellow and red. These colours form an underlying grid of different coloured squares, divided by a green central horizontal and a central vertical band that resemble the simple shape of a cross. Each of these colours were mixed with black oil paint to give a matt surface quality. (ref Tate modern)

In an interview with Bruce Glaser, published in 1966 Reinhart discusses his black square paintings. He believed that there can be only one painting during one time and his were the only valid ones. In this interview he explains that he was trying to make the last ever painting. He also pronounces that his paintings were not about the materials or ideas and that each work he was working on always related to what he previously created. He believed art should be expressionless, clear, quiet, dignified and timeless (cite art as art pg13) in the following statement Reinhardt explains his ideas further:

The one direction in fine or abstract art today is the painting of the same one form over and over again. The only intensity and the one perfection come only from long and lonely routine preparation and attention and repetition. The one originality exists only where all artists work in the same tradition and master the same convention. [6] (cite Ad Reinhart 'Art as Art' art in theory. or Reinhardt art is art page 823.)

By repeating his black paintings he believed he was creating works that considered truly the ultimate modernist pure form and paintings that had been developed as far as they could possibly go. Reinhardt's paintings were formalist which meant the context of the work including the reason for its creation was not necessary; the only important factor was the paintings literal form. It can be argued that Reinhardt's paintings contributed to the end of modernist painting.

Greenberg wrote in his essay 'modernist painting' his acceptance that '' The flatness towards which Modernist painting orients itself can never be an absolute flatness."(Ref) He claimed that the instance paint touches the canvas, some depth or form has been created, therefore the canvas ceases to remain flat. He uses the artist Mondrian as an example of how a simple mark on the canvas can create a kind of optical illusion that suggests a third dimension. CG, MP (1960) pg90). S. This 'optically' according to Rosalind Krauss:

was thus an entirely abstract schematized version of a link that traditional perspective had formally established between viewer and object, but one that now transcends the real parameters of measurable, physical space to express the purely projective powers of projective level of sight. (cite Page 29)

She then continues to say that ''the most serious issue for painting in the 1960s was not to understand its objective features, such as flatness and material surface, but its specific mode of address and to make this a source of new conventions.'' (Page 29.) Therefore the 1960s brought art into a situation where the concepts and ideas in a piece of art had taken precedence over the aesthetics of the object calling the end to modernism and brining art into the post-modern age.

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