In the 1970's, the decade of his death, Lewis's work seems to take on new vigor, especially in paintings like the spare, Minimalist «No. 2» of 1973, an all -
black abstraction randomly scored with thin, vertical lines of white, and «Blue and Boogie» of 1974, a knockout of a painting in which a dynamic whir of bright blue patches — like a Coney Island Cyclone ride — animates an all - black field.