Fairfield Porter, Art News, Volume #56, November,1957
"Parker is developing a new concept of color, where color is not equated with form [if form means an equivalent for volume] but stands instead for energy. The color in these abstract paintings is bright and artificial. The divisions between one hue and another are roughly rectilinear, and what holds the picture together is not balance nor the surface, but a surface equality of energy. In the earlier paintings there is an electrical movement within the canvas flowing through a pile of squarish flakes; in the later paintings nothing moves, there is no thing to move, but his does not suggest stillness and eternity; for as the paintings have become larger in their parts they have become as quick as possible; they exist as if in a single outward flash, like an intricate electrical display. They are complex, but everything happens at once, and the more simultaneous the painting the more specific its inner relationships."