Born into a well-to-do family and educated at Yale University, George L. K. Morris used his money and privilege for frequent travels to Europe, where—together with his friend Albert E. Gallatin (whose work hangs nearby)—he studied the latest trends in modern art. After returning to New York, he became a staunch proponent of abstraction, both as a gallerist and a painter. In Concretion, he explores the aesthetic possibilities of overlaying geometric forms on a grand scale. The title—a term borrowed from geology that describes a compact mass containing fossilized material—hints at the hidden meanings waiting to be uncovered in abstract paintings.