Tommaso Trini. "Dietro la Luce di Rothko." Arte Illustrata 30–33 (June–September 1970), p. 63, fig. 2 (color), calls it "Multiforme".
Teruo Fujieda. "Special Feature: Mark Rothko." Mizue no. 888 (1979), ill. p. 50 (color).
Karen Tsujimoto. Mark Rothko 1949: A Year in Transition/Selections from The Mark Rothko Foundation. Exh. cat., San Francisco Museum of Modern Art. San Francisco, 1983, pp. 10, 25, no. 2, ill. p. 17 (color), cites the work as an example of the consolidation forms and pigments in his Rothko's "multiform" canvases of 1948–49.
Bonnie Clearwater. Mark Rothko: Works on Paper. Exh. cat.New York, 1984, ill. p. 35 (color).
Eugene Victor Thaw. "The Abstract Expressionists." Metropolitan Museum of Art Bulletin 44 (Winter 1986–87), p. 35, fig. 26 (color), calls it "Untitled".
Donald M. Blinken et al. Eliminating the Obstacles Between the Painter and the Observer, The Mark Rothko Foundation: 1976–1986. [New York], , p. 55.
Lisa M. Messinger in Recent Acquisitions: A Selection, 1985–1986. New York, 1986, pp. 58–59, ill., calls it "Untitled".
Carter Ratcliff. "Dandyism and Abstraction in a Universe Defined by Newton." Artforum 27 (December 1988), p. 86, ill. (color), calls it "Untitled".
Diane Waldman. Mark Rothko in New York. New York, 1994, p. 23, no. 25, ill. (color), mentions it among the artist's early, colorful abstractions, noting specifically the residual biomorphic shapes from his earlier Surrealist work.
David Anfam. Mark Rothko: The Works on Canvas. Catalogue Raisonné. New Haven, 1998, p. 310, no. 405, ill. (color), calls it "No. 21".
Bernice Rose. Rothko: A Painter's Progress, the Year 1949. Exh. cat., PaceWildenstein. New York, 2004, p. 20, fig. 10, calls it "No. 21, 1949"; notes that Rothko made this painting as a version of Matisse's "The Red Studio" (1911) as soon as the latter was acquired by the Museum of Modern Art; considers this painting probably the last of Rothko's works to which a specific influence can be assigned.