Discussing the documentary in a recent article in NYArts Magazine Collins noted: "I began with a person whom I already knew: Joseph Marioni, a painter perpetuating the High Modernist tradition of his predecessors. Once I talked with him, I came away with many ideas that multiplied. Though De Antonio was already well acquainted with his group of participants, I would be learning about mine for the first time while filming, which is an experience I have come to enjoy. There's nothing like sitting with someone and hearing the story of his or her life firsthand."
In Socrates and the Alligator Marioni writes: "What I propose, to this gathering of painters, is that we seriously consider a radical break with the problems of the art world establishment. By this I do not mean that we should establish a new formal academy or that we should posture ourselves in an ant-theoretical stance against the art world. I am proposing that we rethink the history of painting from the point of view of a painter... that we disengage the profession of painting from the problems of the art world and then let us see how painting will appear independent of the needs of the art world to use painting as a vehicle to transport cultural ideas."
In his introduction Belz writes: "Monochrome spawned no school or movement following its appearance in the early 1960s, but it has nonetheless remained a presence in the art of our time, its directness and simplicity periodically offering respite within a culture drenched increasingly by spectacle, while at the same time demonstrating anew abstraction’s capacity to secure meaning, even when self-imposed limits seemingly reduce its options to degree zero. In varying measures, its appeal has all along been visual and conceptual, a matter of body and mind together accounting for its integrity as art."
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.