The color sections with the zips makes more sense to me with the words (thank you!), but I would never have gotten that on my own. I can, on the other hand, look at this and I find it interesting, but I wouldn’t be able to analyze it.

Here’s a summary that I found on Wiki for you so I don’t have to write it myself:

An example is his letter in April 9, 1955, “Letter to Sidney Janis: —It is true that Rothko talks the fighter. He fights, however, to submit to the philistine world. My struggle against bourgeois society has involved the total rejection of it.”[4]

Throughout the 1940s he worked in a surrealist vein before developing his mature style. This is characterised by areas of color separated by thin vertical lines, or “zips” as Newman called them. In the first works featuring zips, the color fields are variegated, but later the colors are pure and flat. Newman himself thought that he reached his fully mature style with the Onement series (from 1948). The zips define the spatial structure of the painting, whilst simultaneously dividing and uniting the composition.

The zip remained a constant feature of Newman’s work throughout his life. In some paintings of the 1950s, such as The Wild, which is eight feet tall by one and a half inches wide, the zip is all there is to the work. Newman also made a few sculptures which are essentially three-dimensional zips.

Although Newman’s paintings appear to be purely abstract, and many of them were originally untitled, the names he later gave them hinted at specific subjects being addressed, often with a Jewish theme. Two paintings from the early 1950s, for example, are called Adam and Eve (see Adam and Eve), and there is also Uriel (1954) and Abraham (1949), a very dark painting, which as well as being the name of a biblical patriarch, was also the name of Newman’s father, who had died in 1947.
Who’s Afraid of Red, Yellow and Blue?, 1966. Typical of Newman’s later work, with the use of pure and vibrant color.

The Stations of the Cross series of black and white paintings (1958-66), begun shortly after Newman had recovered from a heart attack, is usually regarded as the peak of his achievement. The series is subtitled “Lema sabachthani” – “why have you forsaken me” – words spoken by Christ on the cross. Newman saw these words as having universal significance in his own time. The series has also been seen as a memorial to the victims of the holocaust.

But I agree weaving is part of the art of writing, and that knowing what to leave out is just as important as knowing what to put in.