Moving on to 1954 and the low - keyed eighth painting in the series (now in the Museum of Modern Art, New York)-- greys, blues, muffled
yellows on a surface just over six feet high by three and a half feet wide, a motor metropolis of tightly curving ramps with headlight beams spreading like
stains suggest a vision,
slightly smudged, as if seen through the thick glass window of a skyscraper; at any rate remote from the scene of automotive nightmare.