Conceived as one of six screenprints published on the occasion of an exhibition at the Betty Parsons gallery in 1951, each based on one of his black paintings of the same year. Some confusion surrounds the edition size of the portfolio, with some impressions numbered from 25 and others from 30. Reba and Dave Williams in their article for Print Quarterly Vol. V, No. 4 state that due to poor sales the sets were broken up and signed individually and rather haphazardly by the artist. Jason McCoy, the artist's nephew, is certain that there was only one edition, of twenty five impressions.