Haystack #6, State III (C.73) completed Roy Lichtenstein's set of state variants for the Haystack #6 matrix with a warm ochre-tan palette on Special Arjomari paper — the fourth and final colour state, completing the systematic colour survey that the preceding variants had conducted. The ochre palette was the closest of the four states to the warm agricultural tones of the original Monet haystacks — a golden-brown range that recalled harvested grain and late summer light. Yet in Lichtenstein's hands this apparent proximity to the source was as considered as the cooler departures of the other states. The ochre was not arrived at through observation but selected as one point in a systematic range, its warmth a chromatic variable, not a perceived truth.

Lichtenstein was demonstrating that even the colour most closely associated with the original subject could be achieved through a print system rather than through the exact observation of nature.

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