"... Bontecou created a groundbreaking series of sculptural works by welding together bas-relief frameworks covered or stretched with wire mesh, canvas, and muslin and dramatically pushing the medium of painting into three dimensions. These works featured projecting orifices that offered views into black voids, which she created with black insets. As Elizabeth A. T. Smith has observed, “Bontecou has consistently emphasized that her intention in the use of blackened voids as an integral and compelling element within her sculpture was to evoke mystery and a range of emotive responses to the unknown, the wondrous, and the sublime. At the same time, her work also refers to the underbelly of human nature, encompassing fear, violence, brutality, and war.”44 In 1963, she herself stated that her intent was “to build things that express our relationship to this country—to other countries—to this world—to other worlds—in terms of myself. To glimpse some of the fear, hope, ugliness, beauty, and mystery that exists in all of us and which hangs over all the young people today.”45"
Paul Schimmel’s essay for “Destroy the Picture: Painting the Void, 1949–1962″