In Nak Beom Kho’s painting; between forms and colors, subtle conflict can be seen. Kho separates colors from forms and rejects colors being as decoration. He separated colors from the paintings of masters and created a long strip of color chart. The extracted colors are not dismantled from forms but secured in a different form like a manuscript. Like Kandinsky, Kho tried to find the equivalence between colors and music. Unlike Joan Miro, his colors depend on the relationship between biological and structural form like Cézanne and Klee. He supports the combination between artificial and man-made, poetry and three-dimensional, architecture and music that has the tendency to seek a complex variety of art. From this; the ambiguity of the title of his work and three-dimensional form color chart was created. This combination and harmony is possible through the pursuit of endless diversity of color. We do not know where and how Kho’s paintings will lead to change, since the world of color is infinitely open and deep. Our life and art is similar to color; while it is open to the freedom, it is also trapped in discipline and limits.