"The Beast's Beauty" is a good representation of the artist's facination with composition that represents a viewer's point of perspective of minus 5 centimeters (2 inches). Imagine someone looking at a large painting from 3 meters (about 12 feet). The person then walks up for a closer look and is only 30cm (about a foot) from the painting. Now the fun part. Imagine what the painting would look like if you could move your face into the surface of the canvas so that the plane of the painting is 5 cm (2 inches) behind your eyes. You recognize the parts but the whole is abstracted. You feel that if you could only pull your head back outside the painting the composition would snap back into something realistic. To attain that feeling that the painting is inside your head even though you are 3 meters away is Acid Art.
    Miro said in his interview with James Johnson Sweeney, 1947; "For me a form is never something abstract; it is always a sign of something. It is always a man, a bird, or something else. For me painting is never form for form's sake...." But for Miro the negative space was never image.
    When the negative and positive space can slide in and out of image you have Acid Art. Not like Esher. The images are more abstract and there is more room for interpretation. Esher is to Acid Art like checkers is to chess.