Piet Mondrian’s “Composition No. 1: Lozenge with Four Lines” (1918) and Charles Gaines’ “Regression: Drawing #5” (1989) are orthogonal monochrome artworks produced on off-white canvases in a grid-like manner. Whereas Mondrian’s centrifugal painting creates an illusion of endlessness because the corners of the inscribed square are outside the area of the canvas, Gaines’ work is framed by the edge of the grid. “Regression: Drawing #5” leaves no space for imagination since its border is so clear, it’ concept is very close to statistical drawings. The largest difference between the two works is scale of detailing – Piet Mondrian’s “Composition No. 1: Lozenge with Four Lines” is bold and clear, while Chares Gaines’ work is very fine – his use