These works certainly owe a debt to Nicholas Krushenick's Pop abstractions and Frank Stella's shaped canvases of the 1960s, as well as to the cool geometry of Neo-Geo (short for Neo-Geometric Conceptualism), a style practiced concurrently with Lichtenstein's production of the Imperfects. Somewhat radically, he embraced the potential for the works in this series to be read as decor. As blank parodies, early versions of these works had already debuted as props in the Artist's Studios paintings (on view in a previous gallery). Lichtenstein acknowledged the series as an evolved parody: "It seemed to be the most meaningless way to make an abstraction . . . dumb paintings . . . [like] the nameless or generic painting you might find in the background of a sitcom, the abstraction hanging over the couch.