The critic Rosalind Krauss, in her catalogue essay for the exhibition at the Institute of Contemporary Art, Philadelphia 1968, a show which included Instant Loveland, wrote [p.4]:
Because the seeing of the surface is tied to the perception of a kind of color which so opens and expands that surface toward the viewer that it might be characterized as foreshortened, the very seeing of the painting in all its literalness poses a question about where the surface is. To see Olitski's color means to see the surface itself as elusive and unaligned.It was these qualities of surface and edge, and colour and line, which Krauss used to place Olitski's art in relation to the work of his contemporaries and in the history of modernism.
Jules Olitski, 'Painting In Colour', Artforum, vol.5, no.5, Jan. 1967, p.20
Rosalind E. Krauss, Jules Olitski: Recent Paintings, exhibition catalogue, Institute of Contemporary Art, Philadelphia 1968