historian Paul Cummings during an interview in 1968, critics and other observers have "never really pigeonholed me... Like I'm out in left field all by myself. And that's just where I want to stay." Between his primary pursuit of painting and tertiary collage practice, Krushenick pursued a keen interest in printmaking. The companion book to Graphicstudio: Contemporary Art from the Collaborative Workshop at the University of South Florida, a 1991 exhibition at the National Gallery of Art, notes that "Krushenick began to experiment with screenprinting in the late 1950s and became an active printmaker by the mid-1960s," including during a 1965 fellowship at the Tamarind Lithography Workshop in Los Angeles (which has since moved to Albuquerque, New Mexico, and been rebranded as the Tamarind Institute). At Tamarind, "he completed twenty-two lithographs during his two-month tenure," which, still featuring the more organic and undulating forms that marked Krushenick's earliest mature paintings, can be viewed here. In 1967, working with the famed Domberger serigraphy studio, the artist produced his R3-67 portfolio, a suite of a dozen screenprints that, taking advantage of serigraphy's capacity for bright color, are significantly more vibrant and yet refined compared to the Tamarind suite and track Krushenick's broader shift toward clean, consistent line execution. The following year, published by Pace Editions and produced at Domberger, Krushenick produced his Iron Butterfly portfolio, a suite of 10 similarly vivid and composed screenprints, half of which can be viewed here. In 1970 at Graphicstudio, Krushenick briefly returned to lithography, producing works embracing straight lines and angular, "more architectonic" forms. In his 1971 Fire-Flash-Five-Fade suite of six serigraphs, Krushenick compresses and sharpens his trademark black lines into jagged bolts of electricity or shark's teeth. In the mid-1970s, Krushenick began spiritually withdrawing from the New York art scene from which he'd already physically departed. He then embarked, after many visiting stints at various institutions during the prior decade, on his only long-term engagement as an educator, serving as a professor at the University of Maryland, College Park from 1977 to 1991. Though he never stopped producing new paintings, his prominence in the New York and global art scenes faded away over time. But he still had champions, including the New York-based outsider curator Mitchell Algus and his Mitchell Algus Gallery, which held two exhibitions of Krushenick's work, in 1997 and in 1999. The latter occurred after Krushenick died of liver cancer in New