He shows his range in these later works gleefully inventing and exploiting new spaces in the picture plane: 1951's Every Atom Glows: Electrons in
Luminous Vibration is a delicate black - and - white oil painting, while his Alabama II, 1969, is a strong protest work — a rectangular field of
red in which a triangular wedge evoking
bodies marching or a megaphone's amplified language emerges in glossier
red on the painting's surface.