Noland's interest in visual effects, such as the illusion of rotation, is evident in his 'target' paintings. In the late 1960s he extended the optical and psychological implications of his work in vast, horizontal stripe paintings. 'Another Line' belongs to a series of large works characterised by a single colour traversed by a number of narrow horizontal stripes. The effect of the size of these works is to reverse the usual relation of spectator and picture. Normally, the viewer looks into a painting. Here, the painting envelops the viewer and its pictorial elements extend beyond their field of vision. In this way the painting's presence as a physical object is asserted.