In 1966 and 1967 Chambers devoted himself exclusively to filmmaking and to a series of so-called silver paintings, radical works in aluminum paint that use the positive/negative visual effects of the paint to convey movement. Rows of Xs are highly connotative, suggesting numbers, poison, porn, and even a primitive signature. We are transported from the integer zone to that of less abstract, worldly imagery on the right by the equals sign that points, as it were, to the half-length male portrait, a photo from the magazine Saturday Night.