Stuart Davis was among the first American artists to connect jazz and swing with abstract art. The painting Hot exemplifies this synesthetic association, with its lively shapes and squiggly lines, vividly colored in red, black, white, yellow, orange, and blue. Davis compared the six colors to a musical composition's different instrument groups, creating tone-color variety through their simultaneous juxtaposition. This visual music induces an intense energy, mimicking the sensory overload of city life.

The title of the painting, Hot Still-Scape for Six Colors - 7th Avenue Style, refers to Davis's West Village studio and its proximity to jazz clubs. A "still-scape" combines aspects of still-life and landscape painting. In this work, Davis integrates new forms, colors, and shapes, inspired by his experiences of the new lights, speeds, and spaces of the American environment. Vibrant lines and round shapes suggest elements such as street signs, neon lights, and headlights, while vibrant colors evoke the excitement of city life.

Hot Still-Scape features a unique post-cubist idea of pictorial space that breaks away from traditional central focal points. Instead, forms are dispersed throughout the composition, creating a loosely ordered, decorative surface with serial centers of focus. The painting's balance of bold colors denies any single color dominance, emphasizing the coherence of the picture's parts. This departure from established spatial order inspired a new generation of artists, including Arshile Gorky, Adolph Gottlieb, Willem de Kooning, and Jackson Pollock, to create their own explorations of spatial organization beyond Cubism.