'Because they [the oil transfers] preserve an offset paint image of the picture at a moment of its evolution, de Kooning saved many of them, keeping the sheets scattered on the floor around the painting area, or on the shelves, to be consulted as a record of the changes the painting had gone through. They became a kind of secret visual diary, fragile evidences of the creative and destructive stages of the work in progress'
(T.B. Hess, ‘De Kooning’s new Women’, in Artnews, vol. 64, no. 1, March 1965, p. 20).