Fewer and fewer artists—Sigmar Polke and Gerhard Richter are two major exceptions—consistently pursue a program of abstraction. Helmut Federle is also such an exception. Federle uses geometric forms derived from his initials, ancient geometric figures, and Asian symbols. He paints grand, static pictures in muted yellows and grays, as well as black and white, that embody change and movement.

These are quiet paintings, but within each canvas there is something explosive. He is concerned with the question of the effect and social responsibility of abstract forms. Federle’s work speaks to