Schwitters’ "Merz Drawings" and "Merz Pictures", as Kurt Schwitters called his Dadaist collages and assemblages created from 1918 onward, are considered the artist's most important and best-known works. Following World War One, Schwitters liberated himself and his art from any academic and art historical constraints. For Schwitters, “Merz” was not only the name of the style of his one-man art movement, but rather synonymous with artistic revolution and new beginnings. In his "Merz" works, Schwitters dissolved the boundaries between art genres, integrated a variety of materials like newspaper clippings, tickets, nails, wood and other objects he found in everyday life, which earned him the rank of one of the most important Dada artists. Schwitters also expressed his almost inexhaustible artistic productivity as a Dada poet, writer and architect, and created a provocative and impressive work of art. For his “Merz” collages he used completely new artistic means, while, in terms of format and two-dimensionality, he still remained conform to the traditional image concept. However, Schwitters also managed to cross that boundary by making relief-like assemblages with an initially flat layout increased to three-dimensionality as in the present work, which was created in exile in Great Britain. In "Bewegstes Weiß auf Blau und Gelb” (Moving White on Blue and Yellow), Schwitters seemingly merged various key elements of a Dadaist concept of art determined by chance and crossing genres: the intuitive combination of found objects and materials, breaking pictorial traditions and overcoming genre boundaries. It almost seems like a sculpture growing out of the pictorial surface, bursting the pictorial space and reaching into the room. Schwitter's acquaintance with the British artist couple Barbara Hepworth and Ben Nicholson at the beginning of the 1940s was certainly inspiring, as their rounded sculptural creations resonate in the present work. In our work, Schwitters also anticipated central elements of American and European post-war art, the principle of the "shaped canvas" from American Color Field Painting, the three-dimensionality and inclusion of light and shadow characteristic of European "Zero" and a sculptural and material exploration of the surrounding space, as pioneered by various international artists in the second half of the 20th century. The present work is not only an outstanding example of Schwitters' cross-genre work between painting and sculpture, but also extends the range - clearly based on the repertoire of forms from Schwitters' "Merz Buildings" - even to architecture. Presumably as early as 1923, Schwitters had begun to fill several rooms in his house in Hanover with a room installation that continued to grow until 1937, eventually including 8 rooms by the time Schwitters emigrated. Even during his exile in Norway and Great Britain, the Dada artist repeatedly "merged" his living and working spaces into stalactite-like total works of art. With the "Merz Buildings", almost all of which are unfortunately no longer preserved in their original form, Schwitters - as in the present relief picture - has found a completely new form of artistic expression that already anticipated elements of contemporary installation art. [JS]