“Towering Spaciousness” is an abstract piece of contemporary art by Hans Hofmann completed in 1956, when the artist was already 76 years old. It is a combination of geometric forms, vivid colors, and bold textures written with oil on canvas. Hofmann uses overwhelmingly warm colors for the background, for the most part orange and yellow with a few red parts. However, he also adds cold blue and green shapes and gestures, adding a layer of complexity to the painting. The piece is mostly light in value and has a rectangular shape which reminds the viewer of a window that has been broken and temporarily fixed over. Although “Towering Spaciousness” is an abstract piece, the layers of color and shapes add dimensions to it, making it more complex. While it is impossible to feel the texture of the painting from a picture, it appears to be a rough one that creates a sense of three-dimensional properties. Although the piece is not currently on view in person, it can be viewed online on the Brooklyn Museum website. Hofmann was born in Bavaria, Germany in the year 1880 and by the late 1930s had settled in New York, later becoming a teacher as well as a painter. During the first 30 years of the 20 th century, Hofmann travelled from his hometown to Munich, Paris, and eventually the US. Over the years, he was fortunate to encounter the great artists of the time, including Henri Matisse, Pablo Picasso, George Braque, Wassily Kandinsky and many others (“Hans Hofmann: The Artist”). Driven by the support of the people in his life and his passion for art and expression, Hofmann played a pivotal role in the Abstract Expressionism development (“Hans Hofmann: The Artist”). By boldly combining shapes and textures, the artist created images that are thought-provoking and engaging. One of the most celebrated features of Hofmann’s art is the color boldness he opts for in his pieces, and “Towering Spaciousness” is no exception. The artist Ellen Landau refers to it as a “rhythmic composition” of Hofmann’s surrealistic exploration of his subconscious (Landau & Schreyach, 2019). Landau uses the word “rhythmic” due to the appeared loudness of the painting that comes from Hofmann’s color choices. Indeed, the painting appears to be expanding beyond the canvas and into the minds of those that look at it, a cacophony of shapes and colors that works together beautifully. Hofmann strived to encourage artists to connect with nature, and one of the tools he believed in was color. Instead of depicting the reality around him in realistic ways, Hofmann opted for minimalized images from his subconscious. The choices of colors and shapes and their combinations on the canvas conveys the simplistic view of nature, both from memory and imagination of the artist. Furthermore, Hofmann uses objects and spaces in ways that convey a story without making it a concrete narrative. Instead, the artist uses the relationship between the simple objects in his painting and the spaces around them, as well as the relationships within the former, to show the underlying principles of nature. The artist believed that no object in isolation had any meaning, which is evident from the network of connections of shapes and colors in “Towering Spaciousness”. Joan Murray refers to the “push and