Ever since the photo of Andy Schleck in his national champion flavored Radioshack-Nissan kit was released, it bothered me. The design itself was appealing enough, clean and simple and structured as it is. No, it was a nagging image buried somewhere in my brain, just one more piece of cycling ephemera buried under layers and layers of equally useless nostalgia and trivia.

But before long, I gave up, and the quandary slipped my mind. Weeks went by, and this being cobble season - Andy wasn’t very visible in his tidy little tricolor kit, so I wasn’t reminded of the question. And so I forgot about it entirely, until this morning.

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I was chatting with a friend about Roger Sterling’s office design, and how I really admired the discipline necessary to design completely without color. “But aren’t you color blind?” he asked. “Yeah, pretty severely.” I answered.

The conversation turned to cigarettes, elevators, wingtips, and then back to the interior office design. “Do you remember the episode with the painting?” he asked. “Um, yeah, it was an Ellsworth Kelly, right?” I said. “Oh come on, did you even take art history in college? It was a Rothko,” he said.

But just as he said those words, an image popped into my head. It was a real Eureka! moment. The image in my head was of a dress that Kelly had designed in the early 50s during his time in France. Surely the Radioshack-Nissan kit designer also had this image in his or her head too.

I mean, this can’t be a coincidence, can it?

But boy, do I like me some Color Field painting. Even if I can’t really discern the colors themselves. And maybe even more so because of it.