At the beginning of the 1970s, after applying looping lines in acrylic on shaped supports made of Styrofoam, DiDonna began working with a vocabulary of dots and dashes on monochromatic grounds. Initially, he worked in oil on canvas, but soon switched to acrylic before turning to oil on linen in the mid-70s. Although a number of critics have seen the influence of Agnes Martin, Brice Marden and Larry Poons on DiDonna's paintings from this period, he repurposes them in ways that clearly establish that he has defined a significantly different path for himself. Meticulous, meandering and devotional, the dots coalesce into an image even as they separate into distinct abstract marks.