Becca’s H, 1969, consists of an H-shape structure whose crossbeam seamlessly transitions into a slanting rectangular plane, injecting movement into a static frame. As with the earlier Cumbria, 1966–67, this monochromatic sculpture plays with our perceptions by creating the illusion of a weightless sheet of pure colour. Becca’s H also recalls Murray’s Chilcotin, 1969, created in the same year and also incorporating the motif of an L-shaped planar support, demonstrating the artist’s constant reinvention of forms within his distinctive sculptural vocabulary.