Gerhard Richter's "Abstract Pictures" were created from 1976 onward and form the numerically most extensive group of works in his oeuvre. In addition to drawings, watercolors, paintings and spatial installations, editions make up a key part of his work. The numerous prints, photo editions and, last but not least, editions of oil paintings are not a kind of 'special form of artistic expression' in Richter‘s oeuvre, as it has been the case with many other artists since the mid-1960s. Owing to the various media that Richter uses, they are part of his encyclopedic system of pictorial methods. A common feature of his works from different genres is the integration of the principle of chance, which he makes both tool and method. This method gives Richter the freedom to step back as a subject and leave material and color be the determining force, an approach that decisively determined his artistic creation. "By accepting chance as the proceedings that go far beyond my imagination, beyond all understanding in general, I am assuming the role of someone who can only react to it, but who can still make something out of it in spite of all powerlessness, so far reaching that it no longer is coincidence. And then you have a new coincidence. " (Gerhard Richter, quoted from: Kerstin Küster, Farbe und Schichtung. Abstrakte Bilder 1986-2005, in: Gerhard Richter. Abstraktion, ex. cat. Museum Barberini, June 30 - October 21, 2020, p. 173) The edition "Grün-Blau-Rot" is also subject to this principle. The title states both the three colors and the order in which Richter applied them to the small individual canvases for the Swiss art magazine "Parkett". The artist covered the primed canvas with the squeegee in a strong green, then covers the result with a very dark blue, followed by the bright red. Of course, Richter weights the color fields, gives preference to an almost balanced red-blue composition and creates an inspired illusion of space and thus a value for the composition. Richter has been working with the squeegee since the late 1970s. The squeegee is a narrow piece of plastic the artist uses to distribute the paint on the canvas. Depending on the application of the paint, it usually leaves thin, smoothly warped layers of paint that replace or even exclude the individual brushstroke. With the use of the squeegee, Richter developed an independent technique; the result opened up unimagined possibilities of a purely formal structure inherent in the picture, with which Richter redefined the subject of abstraction in painting. [SM]