For the last fifty years, Mary Obering has painted geometric abstract compositions exploring the essence of color through the lens of reductivism. In her early works from the 1970s, she explored color and space by creating monochrome fields of color in acrylic on canvas. She then cut the canvases into horizontal and vertical panels that she attached, one on top of the other, onto a large-scale monochrome field. This idea of layering, of creating space with minimal two-dimensional color field relationships, can be thought of in the broader context of painting in New York at the time but also through the enduring influence of Josef Albers and his investigations of shape and color. The use of overlaying panels is also seen in her works on paper, which further emphasize Obering's exploration of collage in her compositions.