This confluence of art and dance perhaps reaches its most complex relationship in a film like Landscape, in which pure color frames with no imagery melt and flicker into one another. Engel calls it "Color Field painting in Time", but again, as with Kandinsky, the very addition of Time and sequence to Color Field canvases constitutes a daring extension of chromatic possibilities, while the reduction of choreography to off-on sequences with no internal gesture or articulation rivals the most radical experiments of John Cage and Merce Cunningham in minimal design. Yet Engel's result in Landscape is an exciting, accessible experience that fascinates and intrigues the viewer -- a tribute to Engel's artistry. [Source: William Moritz, 'Jules Engel, Post-Modernist,' Cardiff International Animation Festival program, 1994]