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From 1922 to about 1932 my early interest in Renaissance art reasserted itself in a series of "Neo-classic" paintings (first shown in New York at the Daniel Gallery in 1924 or'25).

From the early 1930s to the early '40s, my concern with organized movement found expression in my Postsurrealist efforts to organize, through time-sequence, the psychological properties in my work. The "meaning" of the painting depended upon the pattern of the course of viewing: my classic attitude toward movement remained the same in this phase as in all my previous and later work. The first important exhibition of Postsurrealism was held at the Brooklyn Museum in 1936, and was also shown in the same year at the San Francisco Museum of Art.

From 1945 to about 1949 I was occupied with surreal, non-representational images which I called "Magical Forms". Examples of this phase were exhibited in the Art Institute of Chicago's "Abstract-Surrealist" show 1947, "Contemporary American Painting", University of Illinois, in 1949, 1950, 1951; etc.  From this developed a new series which I call "Magical Space-Forms", characterized by duality of interchangeable form and space, in which stark, flat areas of color have an ambiguous existence, being both positive and negative, in a state of continual fluctuation; This is merely another manifestation of my obsession with kinetics.  The first large group of these "Magical Space-Forms" to be exhibited was shown in my retrospective exhibition at the Pasadena Museum in 1952.