While these highly complex and laborious constructions (she often called them «three - dimensional paintings») moved her well beyond the vocabulary of the improvisatory,
so - called «action painting» usually associated with American abstract expressionism, they also had virtually nothing to do with the pop
art and minimalism which were then the
rage of the 1960s New York
art scene.
Instead of head - on
rage, as encountered in
so much current
art referring to Black Lives Matter and parallel movements for transformative justice, Huffman's
rage appears diffuse and peripheral, felt at the edges of a shifting consciousness.