Who, looking at Bluhm's slashing gestural abstractions of the late 1950s — the work that first brought him attention — would be able to foresee the paintings he created in the 1980s and 1990s: architectonic,
intensely symmetrical compositions that owe as much to the art and architecture of Medieval and Renaissance Europe as to the Abstract Expressionist milieu in which Bluhm's style was initially forged.