Ellsworth Kelly's curve paintings and sculptures mark a significant phase in his exploration of form, color, and spatial relationships, reflecting his deep engagement with the natural world and abstracted forms. During the 1970s and 1980s, after moving to upstate New York, Kelly's work increasingly incorporated curved forms, evident in both his paintings and large, totem-like sculptures. These pieces, often designed for outdoor display, showcase Kelly's abstracted interpretation of recognizable forms, such as the ancient Greek statuary form known as kouros. This period signifies Kelly's interest in challenging traditional perspectives and integrating his artworks more deeply into their surrounding environments​ (The Art Story)​.

One notable piece, "Curve XXXII" created in 1982, exemplifies Kelly's mastery of the curve in a sculptural form. Crafted from weathering steel and measuring 9 ft. × 8 ft. 8 1/4 in. × 18 1/4 in., this work demonstrates Kelly's ability to create sculptures that are both monumental and intimately connected with the viewer's space. Kelly's sculptures from this period are characterized by their flat, two-dimensional quality, despite being free-standing or leaning against a wall, inviting viewers to reconsider the relationship between artwork, viewer, and environment​ (The Metropolitan Museum of Art)​.

Kelly's curved artworks, both paintings and sculptures, are a testament to his innovative approach to abstraction, where form and color are distilled to their essence. These works highlight Kelly's ongoing exploration of the visual and sensory effects of abstracted forms in space, further cementing his legacy as a pioneering figure in American abstract art.