Two frames, one inside the other, surround a rectangular field. The small inner formation, which has been tilted diagonally, looks as if it has been fixed within the symmetrical arrangement. Pfahler links statics and dynamics to form a complex unit, a tectonic arrangement he repeatedly creates in order to stage the colour inside. The colour values and their contrasting encounter alone create the illusion of spatial depth. Like many artists after the war, Pfahler was also drawn to processual painting by his desire to overcome boundaries and limitations. From the early 1960s onwards, however, he countered Art Informel with a new concentration on clearly defined forms and colours. The colour remained autonomous, freed from the limiting function of representation. Pfahler's reduction corresponded to a thought process he shared with the artists of Minimal Art and Pop Art. In his painting, simple geometric forms encounter pure colour energy.