This work is an example of Nevelson's early, small-scale abstract constructions that relied on found materials selected for their visual or emotional appeal. In her search for new materials Nevelson was drawn to wood, as opposed to bronze or marble. This choice reflected her past; her father was a woodcutter and lumberyard owner, and the organic material was a common presence throughout her childhood. The assembled rectilinear wooden blocks of this work present a unified exploration of vertical and horizontal axes, in a visual experiment with constructed forms that influenced her subsequent wall sculptures. However, the format of this work is still that of a conventional sculpture presented on a base, much like traditional, old master sculptures. While many of her later works were painted in monochromatic black, white, or gold because of the personal symbolism of these colors, Nevelson painted this work a bright green that she chose not to reprise in later sculptures. Louise Nevelson was born Kiev, Russia. Her family moved to the United States in 1905, and in 1920 she moved to New York City and began studying at the Art Students League in 1929. Using old pieces of wood, found objects, she constructed huge walls, enclosed box arrangements of complex and rhythmic abstract shapes. Her first one-woman show was at the Karl Nierendorf Gallery in NYC in 1941. She had solo exhibitions at the Norlyst and Nierendorf Galleries from 1943 to 1944. In later years she studied printmaking and experimented with marble and terra-cotta. Her fame came about from her show Ancient Games and Ancient Places at Grand Central Moderns, and she is considered one of the most important American sculptors.