In Louis’s final series, commonly called Pillars or Stripes, the artist compressed narrow, vertical pours of brightly colored paint into columnar forms. Each band of paint overlaps slightly with the next, producing soft edges. As the series progressed, the stripes became tidier, with no paint run-off at the top. Louis gradually left less and less bare canvas on either side of the pillar form, moving away from the composition found in Drop. Compared to the majestic, brooding Veils, the pared-down, orderly Stripes foreshadow the repetition of simplified forms that would come to define American Minimalism of the 1960s.