During the 1950s and 1960s, Cuban artist Wifredo Arcay developed a constructivist approach to his works in geometric abstraction. After moving to Paris in 1949, he befriended the circle of abstract artists around Galerie Denise René, including Theo van Doesburg (1883–1931), Sonia Delaunay (1885–1979), and her husband, Robert Delaunay (1885–1941). He was first known as an expert in silkscreen printmaking, a technique he introduced to others in Paris, and many of his paintings reveal the same flat, opaque planes and defined contours of his prints. While working in Paris, he established connections with modernist artists in his native Cuba, Los Diez Pintores Concretos (The Ten Concrete Painters), who promoted geometric abstraction as a universal artistic language capable of promoting social engagement and international communication.
In 1956 Arcay abandoned easel painting in favor of murals and reliefs that interacted more directly with their surroundings, extending the painting’s boundary into its surrounding architectural space. Proposition III (1962) is one of a series of his monochrome wood reliefs. The work comprises two horizontal rectangular planks painted in subtly different shades of black, with three black squares attached to the lower register at three slightly incremental intervals apart.