York City scene, and the fact that her overall output was not very large (by some standards at least), were factors that limited her career and her contemporary impact on the course of American art. Yet perhaps, as time goes on, present-day art lovers who get to know these pieces will agree with Professor Stanton that they are powerful and beautiful creations, worthy of contemplation and admiration on their intrinsic merits - regardless of what was supposedly fashionable in 1960-something: {| border=0 style="background: white" align=center |- |{{cquote|..."Winter Windows" is perhaps sublime in Burke's use of the word for a kind of beauty which produces sensations of awe and helplessness.... Part of the power of these pictures is the result of their controlled design, for balance, color, texture, have been managed so economically that the least change would throw the whole out of key.}} |- align=right |– Dr. Phoebe Stanton [The Sculptural Landscape of Jane Frank, p. 29] |} After 1967: sculptures, and further development of the "apertured" paintings Sculpture: depths and shadows, reflections and refractions In the late 1960s, Jane Frank turned her energies toward the creation of free-standing sculpture, i.e., sculptures properly speaking, as opposed to "sculptural paintings" or mixed media works on canvas. The sculptures, with their clean lines and surfaces, often in sleek lucite or aluminium, completely dispense with the earthy, gritty qualities of those "sculptural landscape" canvases. Busch (1974) quotes Frank as saying: "I begin [working] from a drawing or cardboard mockup. I give my welding and aluminium pieces to a machinist with whom I work quite closely". There were more solo exhibitions, at venues including New York City's Bodley Gallery again in 1967, Morgan State University (1967), Goucher College (for the second time) in 1968, London's Alwin Gallery in 1971, the Galerie de l'Université, Paris (1972), the Philadelphia Art Alliance (1975), and a major retrospective at Towson State College (now Towson University) in 1975. She also won the Sculpture Prize at the 1983 Maryland Artists Exhibition (source: Watson-Jones). Aerial landscape paintings Even after 1967, when Jane Frank began making sculptures, grappling with new media such as plastics and metals, she maintained her ever-evolving production of mixed media paintings on canvas, virtually until the end of her life. Continuing her exploration of the possibilities of multiple-canvas, "apertured" paintings, she began to create her "Aerial Series" pieces, which came more and more explicitly to suggest landscapes seen