York on February 5, 1999, at age 69. As of 2021, at least ten posthumous solo exhibitions have helped spur renewed interest in Krushenick's work and legacy. Two of those exhibitions—at Gary Snyder Gallery in New York and the Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, respectively—prompted major literary treatments: John Yau's Nicholas Krushenick: A Survey (2011) and Ian Berry's Nicholas Krushenick: Electric Soup (2016). Artistic Style Krushenick was part of a generation that at first emulated and soon rebelled against Abstract Expressionism, the dominant painting movement in post-war America. This rebellion would eventually drive that style out of fashion, leading to numerous simultaneous movements that continue to interest artists, critics, historians and collectors today. Krushenick landed somewhere between them all, both embracing and rejecting elements of many styles considered distinct, including Pop Art, Op Art, Minimalism, and Color Field. Some of his early inspirations were Henri Matisse, J. M. W. Turner, Henri Rousseau, Fernand Léger, Alexander Calder, Claes Oldenburg and his eventual friend Roy Lichtenstein. In 1956, when he gave his first public showing in a group exhibition, Krushenick's paintings were muddy and imprecise. Yet he was already starting to poise discernible shapes and masses next to each other in a manner that one critic seems to have misinterpreted as a "Cubist persuasion." Not a year later, on the occasion of his first solo show in 1957, another critic resisted the temptation to classify the work, content to observe Krushenick's "methodically painted strands or streamers which, varying from canvas to canvas in color, width and tensility, advance upon a rival host with similar properties or thrustingly explore an open space or solid color. The mutations on view are dramatically potent, flamboyantly so in the large canvases where black stalactites prong downward into yellow, or black fingers undulate from the bottom." In 1959, Krushenick discarded what he called the "dirty kitchen" look of oil paints and replaced it with the "delicious" electricity of Liquitex acrylics, which had just become commercially available. Having an immediate effect on the brightness and saturation of his paintings as well as the precision with which he could render them, this could be considered the pivotal moment of Krushenick's career. Following this change, his paintings start to feature clear black lines framing both the painting itself and the individual forms within it, albeit via a wobblier, curvier, messier approach than the more