The exhibition featured sixteen painters—half of them Americans, half Belgians, and was mounted at the historic Vanderborght building and Cinéma Galeries in Brussels.
In this extensive survey, accompanied by a catalogue, Rose sought to encourage exchange and assert the need for a new discussion surrounding the condition of contemporary painting.
[6] The American painters, including Larry Poons and Ed Moses, were primarily older, more established artists associated with Rose since the late 1960s in New York when a Clement Greenberg's "post-painterly" abstraction was giving way to multiform "pluralism.
From a distance, across the generous spaces of the Vanderborght, Kretschmer's constructions read as elegant meditations on interval and proportion, enacted by horizontal expanses subdivided and punctuated by slender vertical bands of restrained color.
As we approached, we realized the complexity of these subtle works, which proved to depend on shifts in level, both excavated and built up, so that our perception of the colored bars was altered by changes in plane.