Orange Veil (1962) hums with vigor. It is more than audacious. It is a refined equivalent to what the abstract housewives could never approach, at least, not at the time their cleaning was reaching its apotheosis. For Kline, the task of cleaning was essentially a classical one, and therefore, the feeling of these floors exalts a paradoxical transparent density that both opens and culminates a major chapter in the history of Modernist housework.

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