While the McNay show traces the development of Diller's art through various grid and primary color preferences to a drawing of a simple black rectangle encompassing four vertical yellow lines («He gets very minimal,» Williams says), an «anomaly» from 1938, during the time the artist was an administrator with the WPA, features a curving,
flowing central image that echoes the human form, probably influenced by Stuart Davis.
The screening series forms the backdrop for Eliassen's own public screen intervention at Oslo
Central Station, where the artist feeds new video material into the
flow of
images and messages being exchanged between screens and humans.