Additional highlights include Helen Frankenthaler's Belfry and February Turn (both 1979), which
mimic the look and feel of Abstract Expressionism yet in truth represent a rupture with that tradition through the use of a
staining technique that seemingly minimizes the artist's role in the process; Frank Stella's Double Scramble (1978), whose nested squares, color contrasts, and pulsing optical effects bridge the artist's early minimalism and later illusionism; and Robert Rauschenberg's Golden Chalice (1989) which, insofar as it marries abstraction and representation and juxtaposes gestural brushwork and photographic media, affords a crucial link to late 20th - century abstraction.