that had dominated and, from a certain point of view, stifled the New York arts scene. With members including Al Held, Ronald Bladen, Ed Clark, Yayoi Kusama, and George Sugarman, Brata was "one of the most significant of the Tenth Street cooperatives which for a time were the most important launching pads for new artists." Nicholas exhibited solo shows at Brata in 1958 and 1960. After leaving Brata in 1962, Krushenick gave solo shows at New York City's Graham Gallery in 1962 and 1964 and Fischbach Gallery in 1965. In 1966 came his first solo effort in Europe, at Galerie Müller in Stuttgart, Germany. In 1967, he gave solo shows in New York City and Paris as well as in Detroit, Michigan, and Vienna, Austria, while also receiving a fine arts fellowship from the John Simon Guggenheim Foundation. In 1968, the Center Opera Company of the Walker Art Center in Minneapolis, Minnesota, commissioned him to design the sets and costumes for a production of The Man in the Moon, held in conjunction with a large survey of his works at the Center. Solo exhibitions at Harcus-Krakow Gallery in Boston, Massachusetts, and Galerie Renée Ziegler in Zurich, Switzerland, soon followed. In 1969, on the heels of another solo at Pace Gallery, Krushenick was the Fall term Artist-In-Residence at Dartmouth College's Hopkins Center for the Arts, where he mentored students and created new works, culminating in an exhibition of paintings and prints at the college's Jaffe-Friede Gallery. Earlier that year, he had served as a visiting critic at Yale University, and in years past, he had accepted invitations to work as a visiting artist at the School of Visual Arts in New York, the University of Wisconsin in Madison, and others. Along the way, Krushenick's work appeared in seminal midcentury group exhibitions at the Los Angeles County Museum of Art and the Art Gallery of Toronto in 1964; at New York's Whitney Museum of American Art and Museum of Modern Art, as well as Washington DC's Corcoran Gallery of Art, in 1965; at the Solomon R. Guggenheim Museum in 1966; and as part of the United States Pavilion at the 1967 World's Fair, a.k.a. Expo 67, held in Montreal, Canada. Despite finding acceptance at major institutions and inclusion among the most celebrated artists of the time, Krushenick viewed himself, with some satisfaction, as an outsider. As he told the curator and art