These paintings had vivid colors geometric configurations around positioned throughout the canvas resembling a mural. All of the paintings were nonobjective meaning the artwork does not represent a person, place or thing. Untitled from 1964, in the collection of the Honolulu Museum of Art is an example of the artist's hard-edge style. Alphabet paintings With these works Held takes concrete abstraction to its extreme. Around 1961-1966 Held created large abstract letters of the English alphabet. These paintings were given the titles The Big ‘N''', The Big ‘X’, etc. There is a delicate alteration of the letters as Held plays with viewers perception's by changing the figure to the frame. The letters themselves take over the canvas and colors within the works make them seem to lean forward and backward at the same time. It leaves the viewer to think about the ideas of space and form and how dimension plays a key role. Geometric abstraction In 1967 Held felt that he was being limited by the flatness of previous hard edge abstractions.Berggruen, Tobias. (2021). "Abstraction and Artifice," in Shapes, New York: Alexander Berggruen, 9. He wanted a way to create more picture space in some way, however painting shapes onto shapes would constantly hide beneath one another. Therefore, Held believed that adding depth and making the shapes appear three-dimensional on the canvas was his best option. The works Giza Gate II and Flemish IV are good examples of this style. A representative black-and-white mural of volumetric forms in space, Rothko's Canvas, was commissioned for The Governor Nelson A. Rockefeller Empire State Plaza Art Collection in Albany, NY. All of these works are composed in acrylic black and white. The quasi-geometric structures zigzag in all directions making complex shapes usually cubical. Despite the same consistency of content throughout the works each maintain a unique design of their own. Grid like elements started becoming more apparent suggesting structure similar to that of the framework in buildings. The paintings are in a way disorienting with their uncentered patterns and no place to gain perspective. As his art's complexity grew the idea of his art to be deemed minimalistic became less of a dominant label. Another remarkable characteristic of these works is the scale. For example, in Philadelphia during 1976 he painted his two largest murals, Order/Disorder and Ascension/Descension. Each mural was 13 x 90 feet and stretches throughout an office building. Watercolors While