Ruscha's fascination with the Standard station produced four separate screenprints from the same set of screens, each one a study in how far colour alone could carry an image. Cheese Mold Standard with Olive leans into a muted, food-adjacent palette — its title lifted from the cream and green tones Ruscha chose for the sky and forecourt, treating the print almost like a recipe of hues rather than a literal description of place. The gas station's silhouette stays fixed across all four prints in the group, which makes the shifts in colour feel deliberate and almost scientific, as though Ruscha were testing how a single composition could be endlessly reinterpreted through printmaking alone.

This particular edition is the largest of the four Standard variants, giving it a wider circulation among collectors than either the original 1966 print or the more tightly limited Double Standard made the same year. Seen alongside its siblings, it shows Ruscha treating a single Los Angeles roadside image as a genuine printmaking exercise, closer in spirit to a colour study than a repeated motif.

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