"In neither case" notes Daniel Robbins, "did the use of the word "cube" lead to the immediate identification of the artists with a new pictorial attitude, with a movement. The word was no more than an isolated descriptive epithet that, in both cases, was prompted by a visible passion for structure so assertive that the critics were wrenched, momentarily, from their habitual concentration on motifs and subjects, in which context their comments on drawing, color, tonality, and, only occasionally, conception, resided." (Robbins, 1985)