Joining Grupo Ruptura in 1955, Lauand developed her practice within the bounds of their geometric language, working with precise sequences and mechanical order. Her early concrete paintings reflect the group’s rational and cerebral approach, though this is offset by her embrace of material textures and brushstrokes that allow the calculated compositions to retain a human touch. Amongst the key figures of Brazilian Concretism, Lauand’s work is often uniquely characterised by a sensibility towards contradiction and poetic deviation. Forms are held in tension across the picture plane within mathematical linear structures, frequently destabilised and animated by decisive ruptures to her pattern.

This painting was given as a wedding gift to the leading Brazilian art critic of the time, Aracy Amaral, in 1958. Amaral invited Lauand to return and sign the work at a later date. A rare example of her early concrete painting, it is a precursor to an extended series of Xadrez (chess) paintings produced in the 1970s, whose geometric compositions pared down her concretism to its most minimal elements. The renowned critic (former director of MASP - São Paulo Museum of Art) Walter Zanini said of this series in 1984: "the most powerful branch of her approach to vision is the series she divides into a checkerboard shapes. She articulates color tones either in contrast or in harmonious coexistence, always motivated by the idea of creating maximum vibratory potential between the tones."

This painting has been included in important retrospectives of Lauand's work, including the major exhibition at Museum of Art of São Paulo Assis Chateaubriand (MASP), celebrating the artist's 100th birthday in 2022. It is presently included in the exhibition Some May Work as Symbols at Raven Row, London, alongside Brazil's most influential modernists including Rubem Valentim, Willys de Castro, Lygia Clark, Hélio Oiticica and Alfredo Volpi. In 2024, Lauand's work will also be celebrated in the 60th International Exhibition of La Biennale di Venezia, curated by Adriano Pedrosa, as he seeks to re-centre pivotal artists from the global south.