The critical discourse surrounding Ad Reinhardt (1913-1967) has been focused either on his connection with me New York School or his influences on Minimalism. Consequently, his religio1l5 orientation toward art and acknowledged attraction t0 the Eastern philosophy have been widely ignored. Therefore, this paper is devoted to elaborating the “Oriental" ideas inscribed in his work, especially Black Paintings mat were executed in his later career(1960-67). However, my concern is less about identifying the characteristics of me “Oriental” sensibility than about tracing the various discursive contexts defining and creating the Eastern aesthetics surrounding his work and criticism, I show that Reinhardt`s seemingly authenticated knowledge of the East has relied on me absent signifier of the mythic Orient, which is fraught with Orientalist overtones. In the later part of this paper, I suggest that Reinhardt was alienated from his contemporary critical Context of Abstract Expressionism due to his explicit reliance on the Eastern an and philosophy, on one hand, and on the other, the implicit association through Zen Buddhism with the artists, such as John Cage, F1uxus, and Beat poets to name the most prominent few, who were marginalized in major context of American art of the late 1950`s and the 1960`s. I am firmly of the opinion that the Eastern orientation sprinkled an irritating flavor in Reinhardt``s aesthetics for the Greenbergian-typc of American modem art. It is dear that Clement Greenberg`s rigorous denial of Oriental influence was pan of his effort to eliminate the alibi of non-American and non-European aspects from the Abstract Expressionism. As a result, I argue, under the Greenberg``s aegis, such an odd grouping of New York School pantisans has been packaged as “American-Type” painters, while Reinhardt`s Eastern sensibility has been marginalized in the triumphal history of American modem art.