A large square composition of pure formal invention — one of the most systematically unusual works in the collection. The picture field is entirely covered with circles of varying sizes, arranged in a roughly grid-like distribution. Approximately half the circles are filled with color — vivid, opaque, each one a different color: teal, red, gray-blue, magenta, yellow-green, dark green, orange, black, pink, gold — while the remaining circles are left as simple outlines against the white ground.
The colored circles are not painted with watercolor but with a more opaque medium — possibly acrylic or gouache — that gives them a material density different from anything else in the collection. Each filled circle has internal texture: the teal circle at upper left has visible spiral brushstroke marks; the red circle beside it has a ridged surface; the dark green circle has a variegated quality suggesting multiple layers. These internal textures make each circle a small world of its own.
The empty outlined circles provide the visual rest that makes the filled ones legible — the unfilled circles are not failures but necessary counterpoints, the silence between the color events. Some circles overlap, some are tangent, some isolated. Some are cut by the picture edge, their partial forms at the margins suggesting the grid continues beyond the frame.
The systematic quality — circles filling a grid, alternating filled and empty — connects this to The Color Chart (381) and the Plaid Man (122) as one of Sidney's most explicitly systematic formal investigations.