In 1974 Bush reintroduced his 'color column' concept in a series of paintings in which overlapping blocks emphasize the relationships between colors as a focus of the work. Through pieces like Diamond Totem, the artist again uses his paintings to examine how colors interact as he did earlier in Striped Column (1973.417). However, the different shapes and composition of Diamond Totem demonstrate a change in Bush's approach. The fabric of this piece is finely woven linen, sealed with a thick layer of polyvinyl acetate resin, probably applied with a roller. In Bush's earlier works, paint was absorbed into the fabric, creating a matte surface. In comparison, the diagonal sequence of colored blocks in Diamond Totem was brushed over the glossy, transparent sealing layer. The paint rests on the surface rather than penetrating it so that the color blocks almost seem to float over the transparent field.

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