In 1968, a review in the New York Times referred to Inukai’s paintings as “Very pure”. This fresh, graphic work features a single color with bands around the edges that are truly intriguing – especially when seen up close. During the 1960s, the artist was exploring the boundaries of color, structure, and minimalist formalism.

Inukai’s use of acrylic on canvas allowed for a flat, uninterrupted color field which was central to hard-edge painting and the emphasis on the clean transition between hues and geometric sections. Blue square No. 3 is a significant example of Naohiko Inukai’s hard-edge abstraction from this period. Inukai’s art bridges Eastern and Western sensibilities, with his abstract painting embodying both the cosmopolitan energy of New York and the nuanced, contemplative qualities of Tokyo life. His career trajectory, moving between these cities, enabled a fusion that is evident in his visual language and approach to composition. While one work is highly effective and commanding, we share that the grouping of all four (Light Green, Blue, Green Square No. 4) works creates a great visual impact.