foundation also included in their exhibition Lundquist's Urn** (1960 oil on canvas.). Their description of Lundquist's work/style stated, "his use of massive impasto can be linked [...] with forms described less according to visual appearance than to a tactile sense of mass. Bulky and resistant bodies, crowded and sloping spaces, are realized by the weight of the paint, heaped and pressed, in analogues of our bodily sense of weight, balance, and touch." (A black and white image of Urn can be seen on page fifty-eight at citation.) The Art critic and museum curator Lawrence Alloway, in his review of Lundquist's 1960 exhibition at Beaux Arts Gallery, had made a similar and somewhat superficial assessment; "Instead of using paint to create a visual illusion, Lundquist uses it like clay and models the picture." Wall Street Journal writer J. S. Marcus wrote, succinctly if not profoundly, that Lundquist was a "near-abstract artist" who was able to produce works that tantalized byway of tensions created through the rich textured impasto backgrounds and the motifs. Lundquist was often hesitant to discuss the question of why he painted as he did, as opposed to the "technicalities" of his art. This was particularly true in his latter years. Eva Ottoson, a friend of the Lundquist family, recalls a patient but firm Lundquist rejecting an interviewer's repeated requests for an explanation, not of painterly technique, but rather "why he painted as he did". Finally, Lundquist still pleasant but tired of the question offered his answer saying, "Well it just happens". **The work Urn or Urnan in Swedish was later shown at the Lars Bohman Gallery after Lundquist's death. In the catalog for the exhibition, with text by Olle Granath, the same painting is shown on page thirty-three in a different orientation than is shown in the Guggenheim catalog of 1964. Additionally, a slight variation in the stated size is noted and the date of the work is given as 1960. The date given by the Guggenheim is 1961. Fredrik Liew notes other works had been shown not only in different orientations but also with other names, he cites Torso (1961) as one such example. Torso was also called Stilleben. Parallels with British Artist Bloomberg As noted, the early 1940s were a pivotal time for Lundquist. His style was changing, somewhat radically, from his previous aesthetics. What would generally now be termed modern abstract art, was in its