head of London's Institute of Contemporary Art, to take on Lundquist. Alloway, familiar with Lundquist's reputation refused on the ground that he appeared as too "provincial". Eventually, Alloway did see Lundquist's artwork at a private exhibition at the Beaux Arts Gallery. Impressed, Alloway "profusely" apologized to Holden saying that "he now considered Lundquist was a major artist on the international scene." Fifteen years latter, Alloway was to become curator at the Guggenheim in New York. The Guggenheim Museum, freshly housed in its iconic building designed by Frank Lloyd Wright, was already one of the most recognized museums in the world. Alloway's opinion of Lundquist as an artist had not changed, and he invited Lundquist to exhibit there. Withdrawal from broader art world Ironically, Lawrence Alloway would also contribute, indirectly, to Lundquist removing himself from pursuing even more international recognition. While Lundquist may have inadvertently given his persona a less interesting "image", he would go on to make another direct choice which seems to have caused a greater long-term harm to his career. Alloway, in his role as curator of the Guggenheim Museum, had culled the world of art to select a small number of artists to be exhibited and to receive an award in the 1964 Guggenheim Foundation Exhibition. The President of the Guggenheim Foundation, Harry F. Guggenheim, explained the award was created to represent "preeminent national and international prestige". During this exhibition Lundquist was presented the award and was well received. However, he realized the extent to which "monetary interests largely controlled the art world." Uninterested in participating in such a dynamic, he returned to Sweden and continued to paint there for the remainder of his life. Lundquist's decision appears to have been based on his own ethical considerations. His critical reviews would not have supported a decision for withdrawal. Fredrik Liew notes that Lundquist had been received "enthusiastically" by critics and that many museums were continuing to purchasing his works. Andrew Forge wrote of his British exhibition in 1960, "He is a mature and important artist and one whose stature will become increasingly important." The London Times had criticized British artists who were working in a similar style to Lundquist, calling them "apprentices" to Lundquist. Art critic R.V. Gindertael who, during Lundquist's 1960 Paris exhibition, wrote about the great number of artist's that appear in Paris attempting to achieve recognition; these artist show their work and are sent