Recently experiments are being made in the production of color-harmonies devoid of form. Surely there is a field for pure color-composition and this the field of the painter which leads toward the art of mobile light. Many of the formless paintings of the present day which pass under the banner of this _ism_ or that are merely experiments in the expressiveness of light. Being formless, they are devoid of subject in the ordinary sense and cannot be more or less than a fixed expression of light. Naturally they have received much criticism and have been ridiculed, but they can expect nothing else until they are understood. They cannot be understood until mankind learns their language and then they must be understandable. In other words, there are impostors gathered around the sincere research-artist because the former have neither the ability to paint for a living nor the inclination to forsake the comparative safety of the mystery of art for the practical world where their measure would be quickly taken. This army of camp-followers will not advance the art of mobile light, but the sincere seekers after the principles of light-expression who form the foundation of the various _isms_ may contribute much. The painter will always be available with his finer sensibility to appreciate and to aid in developing the art of mobile light, but his direct contribution appears most likely to come from the present chaos of experiments in pure color-composition, in the psychology of light, or, more broadly, in the expressiveness of light. The decorator and the designer of gowns and costumes do not arrogate to themselves the name "artist," but they are daily creating something which is leading toward a fuller appreciation of the expressiveness of light. If they do not contribute directly to the development of the art of mobile light, they are at least aiding in developing what may eventually be an appreciative public. The artist paints a "still-life," the decorator creates a color-harmony of abstract or conventional forms, and the costumer produces a color-composition in textiles. The decorator and costumer approach closer to pure color-composition than the artist in his still-life. The latter is a grouping of objects primarily for their color-notes. Why bother with a banana when a yellow-note is desired? Why utilize the abstract or conventional forms of the decorator? Why not follow this lead further to the less definite forms employed by the costumer? Why not eliminate form even more completely? This is an important point and an interesting lead, for to become rid of form has been one of the perplexing problems encountered by those who have dreamed of an art of mobile light.