Agnes Martin's work and persona are often associated with East Asian philosophies. This attribution serves more to the myth surrounding her persona than to the analysis of her art. The study of visual aesthetics and cultural philosophy offers a new perspective on the appropriation of "Asian" elements in Martin's work by focusing on transcultural translation processes. It also traces the historical conditions for the construction of Asianisms in the United States. At the center of the work analysis are perceptual aesthetic image concepts and design principles such as the primacy of line, the image grid as a reflective form of fullness in emptiness, and the diffuseness of the image background. Considering this in the context of indigenous image practices opens up an intercultural framework for discussing the cultural transfer potential of those practices.