Paintings, such as Frames, which by nature are assembled from pre-painted fragments of some type or another can be seen in the work Brushstrokes Cut into Forty-Nine Squares and Arranged by Chance, 1951 by Ellsworth Kelly. While it can be seen that this work represents a synthesis between the practice’s of Collage, and Painting, it does not appear to be concerned with configuration beyond that which has been achieved by chance within the modular grid of identical parts comprising the completed work. Such an approach to assembled paintings overlooks the possibility of infusing such a methodology with a more heightened editorial process of re-forming a pictorial whole through the more deliberate editorial technique of varying the dimensions of fragment parts to attain this new pictorial configuration.