The premise for Color Field Revised opening at Loretta Howard Gallery on June 4, 2011 is simple. Color Field painting was a large movement of that included many more artists than the handful usually associated with the term.
As David Anfam writes in his essay Color Spectacles for the exhibition Color Fields at the Deutsche + Guggenheim in Berlin in 2010 :
Color Field painting needs to be comprehended from a vantage point diametrically opposed to the tunnel vision of its original advocates. We should grasp it as belonging (albeit sometimes in shifting or barely legible relationships) to the same continuum of experience and knowledge - the episteme - that encompassed an array of cultural changes, myths, and motifs or the sixties....yet nor was Color Field art shaped in a vacuum by artist adrift from external reality. Even Noland's statement that "the thing is to get that color down on the thinnest conceivable surface, a surface sliced into the air as if by a razor. It’s all color and surface, that's all." echoes with an impulse that saw the "cool" attitudes of youth coolly incorporated into the sleek mechanisms of American media, design, and technology - for all of which (to rephrase Marshall McLuhan) the surface was the message.