developing his own abstract vocabulary. Later that year, upon completion of the ICA Fellowship, Fangor moved to Paris. In February 1964, he had his first solo exhibition at Galerie Lambert in Paris and in June that year, he held an individual show at Städtisches Museum Schloss Morsbroich in Leverkusen, Germany. Also in 1964, he was awarded a grant from Ford Foundation to live and work in Berlin. Fangor lived in Berlin for one year before leaving for London, where he stayed for six months. In 1965, William C. Seitz, curator at the Museum of Modern Art who had visited Europe in 1963 and seen Fangor's exhibition in Paris, decided to include Fangor's painting in his show the Responsive Eye. The exhibition was pivotal in defining Op art as movement and later traveled to several museums across the U.S., including the Seattle Art Museum, the Pasadena Art Museum (now Norton Simon Museum), and the Baltimore Museum of Art. Despite being poorly received by contemporary critics, Responsive Eye proved hugely popular with the general public and, bolstered by the significant institutional influence of MoMA, is said to have positively influenced the commercial success of the participating artists. Fangor's inclusion in the exhibition had an important impact on the artist's work being classified as op art in the subsequent decades, although critics have generally struggled to pinpoint the specific movement Fangor's work belonged to. As recently as 2021, critic and art historian Karen Wilkin described one of his paintings as "a blurred version of a Noland Circle," alluding to the visual similarities between Fangor's style and that of artists associated with the color field movement. United States (1966-1999) Fangor eventually settled permanently in the United States in 1966 where he was offered a teaching job at Fairleigh Dickinson University in New Jersey. Solo exhibition at the Guggenheim (1970) In 1970 he became the first Polish artist to have an individual exhibition at the Solomon R. Guggenheim Museum in New York City. In a review for the New York Times, critic John Canaday found some parallels between Fangor's organic shapes and Jean Arp's biomorphic forms of the Surrealist period and compared his technique to that of Color field painters. At the same time, Canaday acknowledged the difficulty of establishing an authentic art historical precedent to the artist's idiosyncratic large-scale and highly vibrant non-mimetic paintings. He described Wojciech Fangor as "the great romantic of Op