Club of Chicago, and two key group shows of Abstract and Surrealist art in America, curated by Sidney Janis and Parsons. Reviewing a 1945 Hofmann exhibit, Greenberg wrote, “Hofmann has become a force to be reckoned with in the practice as well as in the interpretation of modern art.” Not all critics were uniform in praise; for example, Robert Coates, one of the first to call the new work “abstract expressionism,” expressed skepticism about the “spatter-and-daub” style of painting in a 1946 review of Hofmann's work. In 1947, Hofmann began exhibiting annually at the Kootz Gallery in New York (and would do so every year through 1966, except 1948 when the gallery temporarily closed), and over the next decade continued to gain recognition. In his later period, Hofmann often worked less gesturally, creating works such as The Gate (1959–60), Pompeii (1959) or To Miz - Pax Vobiscum (a 1964 memorial after her death), that were loosely devoted to architectonic volumes and sometimes referred to as his “slab paintings.” In these works, he used rectangles of sensual color that reinforced the shape of his consistent easel-painting format and sometimes suggested a modular logic, yet escaped definitive readings through areas of modulated paint and irregular shapes. In 1957, the Whitney Museum put up a large retrospective on Hofmann, which traveled to seven additional museums in the United States over the next year. In his review of the retrospective, critic Harold Rosenberg wrote, “No American artist could mount a show of greater coherent variety than Hans Hofmann.” In 1960, Hofmann was selected to represent the United States at the Venice Biennale, alongside Philip Guston, Franz Kline and Theodore Roszak. In 1963, The Museum of Modern Art gave a full-scale retrospective, organized by William Seitz, with a catalogue that included excerpts from Hofmann's writings. The exhibit traveled in the next two years to five other venues in the U.S., museums in Buenos Aires and Caracas, and finally to five venues in the Netherlands, Italy and Germany. Posthumous retrospectives of Hofmann's work include shows at the Hirshhorn Museum (1976), Whitney Museum (1990), and London's Tate Gallery ("Hans Hofmann: Late Paintings," 1988), which was curated by the British painter John Hoyland. Hoyland first encountered Hofmann's work during his first visit to New York in 1964, in the company of Clement Greenberg, and had been immediately impressed. Teaching Hofmann was renowned not only as an artist but