This collage belongs to the six year period 1957-1963 in which de Kooning simplified his forms and moved his compositions in the direction of abstracted landscape. Although defiant about his urban roots ("I'm no country dumpling", he quipped) de Kooning spent increasing amounts of time in Long Island as the pressures of celebrity began to intrude on his working life in the city. The collage is named for the town where he summered, eventually purchasing the property there of his brother-in-law. Peter Fried.

In his 1959 exhibition at the Sidney Janis Gallery, alongside a group of large abstract paintings, de Kooning showed a group of small painted rectangles constructed from chopped-up earlier paintings, mounted on stiff paper. This strategy, which relates to the work of Lee Krasner [link to cat # 32], goes to the heart of de Kooning's aesthetic, suggesting as it does form recognition as a constant, turbulent striving, a learning from mistakes and building upon dissatisfactions.