The viewer has the choice or the dilemma of deciding if these trapezoids are like schematic prisms that do not affect the light passing through or two foreshortened panels perforated by a bullet. On the printed page and presumably in the artists plan, the empty spaces are pure white.

Intersecting Red Rectangle, 1996, elaborated considerably upon this scheme Anuszkiewicz compares the result to a transparent room viewed through a missing corner. Four flat trapezoids, drawn in space with the utmost economy, give the impression of two rectangular walls opening toward the observer and the other two meeting in the background.

Just to complicate matters in this most minimal of constructions, a red rectangle appears to intersect the yellow and orange walls in the distance, alternately opaque and transparent. Words are too cumbersome to describe the illusion achieved with the simplest of means. In a conversation, Anuszkiewicz said, "the excitement for me is to create from an empty space, or void, a form that can be seen as either solid or transparent."⁸⁸

A good summation of his thoughts came out of his interview with Joseph Slate in 1970. Asked by Slate: Your things look as it they'd been turned out by a machine. The perfection is so extraordinary. Perhaps you feel that a work of art should look as if the human hand hasn't touched it. Is that fair?

RA: I really don't feel that it's the hand. I think it's the mind that's important here. We put too much emphasis on the hand. And the mind is something that can never be replaced. You can never create any new art unless it's created by the human mind."⁸⁹

As of this writing, the question remains open as to Anuszkiewicz's next direction, in either sculpture or in painting or on paper. He is thinking about it.