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so that color and shape can let loose. Their movement and weight are not restricted. Their extension in any direction, and of any duration, is fully supported. This is what Mondrian's paint-encrusted bars did when they successfully spanned the surface of painting. By spanning the pictorial surface, not diving it, the structural bars became the infinitely flexible and extendable supports of abstraction, supports that gave painting plenty of space to work in. 
It is here that abstraction hopefully will find the cure for recunfant pigmentation and stril, self-limiting two-dimentionality. "New York" (1942) and "BroadwayBoogie- Woogie" (1943) have the live wire armatures, the hot structure both to support the collapsing space of shapeless materiality, and to anchor the light-weight space of arcanely colored flatness. With help like this, anything is possible. 
A modent leap of the imagination will like Mondrian's late paintings with the famous drip painting of Pollock, especially paintings like "NUmber One" (1948) and "Number 28" (1950). What's intereting about this link is the way in which it shows us the marriage of rhythm and structure, the salient features of being repeated a few years later with what appeared to be surprising results. From Mondrian's very tight and worked-over painting came Pollock's very loose and expansive painting, painting in which everyone could discover "freedom". 
This link manifests itself in the playing off of various pictorial elements against each other in both Mondrian's late paintings and Pollock's drip paintings. The rhythm of sensation and mass (color and pigment) mingles