After 1960, Hann Trier's work intensified its purely colorful internal structure, foregoing elements of drawing. In two-handed application, he condenses the color into rhythmic bundles of strokes, which in themselves follow poetic sounds. In the painting "Tango II", fields of strokes extend upwards to the right and left of an imaginary, spine-like center line, where the composition ends in two wings, giving the loose, polyphonic composition an even lighter, almost harmonic finish. The gray-toned figure is backed by a deep red. Although Trier's titling should not be taken literally, in his "Tango" painting he does refer by the backward designation to a poem by Pablo Neruda: "Tango del viudo" (Tango of the Widower), which is a surreal examination of the lyrical self's jealous wife beyond death.