The April 2010 issue of the Brooklyn Rail includes a conversation between David Reed and Phong Bui:
I started thinking that the number of the brushstrokes, stacked one on top of the other, was arbitrary, even though it was based on how high and low I could comfortably reach. I decided I would just make one brushstroke along a thin horizontal canvas. The brushstrokes I made standing in one place were about 52 inches long. I planned on four of these, with a little space in-between, so I made the canvas 8 inches high and 214 inches long. Guy Goodwin called it “The Baseball Painting”: four times to get around the bases. Then I thought that instead of having the brush marks seem discrete, I wanted them to continue endlessly. I cropped the strokes so there were half-strokes at the ends of the canvas, as if when they continued, the whole world would be covered with one endless painting. Then I thought I could replace the central brush mark on these paintings with a panel of color. That would be the only part of the world that wasn’t the painting. I wanted to turn painting inside out. That’s how the juxtaposition of panels of color and brushstrokes came about.