Beginning with Dorothy Dehner’s 1933 watercolor, Bolton Landing Highway, using a nearly abstract visual vocabulary, Dehner captures the empty road and almost barren landscape near the upstate New York farm she shared with David Smith. Judith Rothschild’s Untitled, circa 1945, mixed media on paper, pushes abstraction even further as her works from this period are “a lesson in the vitality of late Cubism to bring abstract and representational pictorial space together in recombinant rhythms. (Westfall, Stephen, Judith Rothschild: Paintings of the 1940s, Valerie Carberry Gallery, Chicago, Illinois, 2008). Complete abstraction is found in Charmion Von Wiegand’s vibrant Telescopic Forms, 1945 and in Anne Ryan’s subtly textured oval collage, 1948-54. Catherine Drabkin’s saturated gouache, Window on the Northside 5, 2019, challenges our perspective and sense of space, “places and objects are signifiers for the passage of time, for the presence or absence of one beloved; they are used to create visual compositions as equivalents for a longing that can't be quenched.” The most recent work is Marissa Alperin’s weaving, a fusion of strong color and multiple textures. Alperin will have her first solo exhibition at Kraushaar Galleries in April 2020.