IN THE "FLARES" 0f 1990
to '94, the "Doors" format became even more radical,
taking the emblematic panel picture to a further extreme.
For the first time the parts themselves detached from one another. Long curving panels were reassembled so that a portion of each edge touched while for most of their lengths the units stood free. The whole assemblage remained flat against the wall and often seemed to derive from an originating rectangle. Paint application was often smoother than it had been in the "Doors," yet retained their thick, transparent shine.
The "Flares" sit flamboyantly against the wall. Demonstrating Noland's genius once again, they arranged color in a hitherto inconceivable format which in retrospect appears to be a logical consequence of his preoccupations.