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From the beginning, its use was related to the problem of the boundaries of panel painting, which first appeared in Imre Baks art with regard to his conception of the painting as an object towards the late 1960s.
In analysing painting, one of the most significant conclusions the artist came to, and which would influence his entire praxis, was that he considered the painting an object independent of the outside world, having its own internal laws. In the spirit of this approach, Bak devoted special attention to the border of the painting, emphasising the stark contrast between its inner and outer spaces.
The painted frame appearing in Imre Baks panels, usually discontinuous and not necessarily parallel with the borders, as well as the use of shaped panels, are instances of the aforementioned endeavour in this period.
However, the function of the di- or polychromatic band that appears in several works from 1970, is not merely to mark the boundaries of the painting: the diagonal cropping of the ends of these highly contrasted parallel bands of colour evokes a sense of axonometric depiction, giving spatiality to these paintings.