Geometric abstraction is present among many cultures throughout history both as decorative motifs and as art pieces themselves. Islamic art, in its prohibition of depicting religious figures, is a prime example of this geometric pattern -based art, which existed centuries before the movement in Europe and in many ways influenced this Western school. Aligned with and often used in the architecture of Islamic civilations spanning the 7th century- 20th century, geometric patterns were used to visually connect spirituality with science and art, both of which were key to Islamic thought of the time.
Throughout 20th-century art historical discourse, critics and artists working within the reductive or pure strains of abstraction have often suggested that geometric abstraction represents the height of a non-objective art practice, which necessarily stresses or calls attention to the root plasticity and two-dimensionality of painting as an artistic medium. Thus, it has been suggested that geometric abstraction might function as a solution to problems concerning the need for modernist painting to reject the illusionistic practices of the past while addressing the inherently two dimensional nature of the picture plane as well as the canvas functioning as its support. Wassily Kandinsky, one of the forerunners of pure non-objective painting, was among the first modern artists to explore this geometric approach in his abstract work. Other examples of pioneer abstractionists such as Kasimir Malevich and Piet Mondrian have also embraced this approach towards abstract painting. Mondrian's painting "Composition No.
