It is perhaps difficult to recapture the significance of Noland's beautiful yet remote targets to artists and critics growing up in the 1960s. The targets solved a lot of esthetic problems: they cleaned up the messiness of Johns and Rauschenberg, they had a touch more subjective beauty than Stella but not too much, they were cool, detached signs that even Warhol's soup cans had to defer to and they anticipated Judd's specific objects and the dematerialization movement of the ‘70s.