Untitled, 1969, is an example of a Labeled Map; a group of works that saw Cohen project slides from a plotter output onto canvas, paint the outlines and then paint the inner areas with either solid colour or the names of the colours. Consisting of irregular shaped, coloured forms. The names of colours including ‘plum’ and ‘iron grey’ are stencilled over the cells. The graphic painterly effect was created using a combination of techniques, including stencils for the text and spraying to achieve the softening effect at the borders of the cells. Cohen designed the number and text typeform for this group of works, giving each painting a distinctive visual and textual identity.

This period at the turn of the 1970s saw an important development in Cohen's 'rules for painting.’ Intent on identifying solutions to the painterly problems that had preoccupied him throughout his career - questions of colour relationships and the partitioning of space on the canvas surface, Cohen sought to codify his approach. He determined three distinctive modes for governing space and categorised these three modes into three groups of maplike works, each determined by unique rules for growth and adhering to an alternate purpose and strategy.

Termed Contour Maps, Territorial Maps, and Mazes, each group followed their own rules to divide the pictorial space. A Labeled Map, Untitled, 1969, is a subset of the Territorial Maps. Cohen’s aim with this group was to create a ‘system of interlocked closed forms’, where ‘no single form dominates the whole’, but instead each form becomes the ‘figure’ when looked at, and the ‘ground’ when a different form is being looked at.’ Colour was controlled and restricted so that, of the small number of colours allocated to the form, no two adjacent forms had the same colour, but every colour is in edge contact with every other colour somewhere in the painting.