The series of twenty-three Yellow Movies, produced by Tony Conrad (b. 1940, Concord – d. 2016, Cheektowaga) in 1972 and 1973, takes the form of single frames of film painted in the classic cinematic ratio in black and white (or yellow) on large sheets of paper. Working in the context of minimalism and experimental structuralist filmmaking of the era, Conrad subjected the idea of film to a radical reduction. Each Yellow Movie is conceived as a non-narrative film of infinite duration whose yellowed surface conveys the flow of the film. In each case, the title refers to the period of the initial presentation or the date on which the ‘screening’ began. It is complemented by information about the paper and the type of paint used for the emulsion. ‘The movie viewer’s experience,’ says Conrad, ‘simply requires the screen image and duration. … The change of “image” in each “canvas” or “movie” is very slow. ... No actual change can be noticed during the time of one brief exhibition. Changes in image and in projection speed can be noticed only after long intervals.’