and proportions." Over the next decade, Stażewski also continued to revitalize some of the visual forms present in his early tactile reliefs by moving back them onto a flat painterly surface. While his later compositions had become more intuitive, standing in contrast to the more scientifically determined compositional methods, the artist remained committed to examining the pictorial properties of color. Scholar Janina Ladnowska described Stażewski's planes of color as "flat, strong, homogeneous, clean, sometimes shining" and suggested that these polychromatic compositions made late in the artist's career cast doubt on the "rational" structures of his earlier work. He continued to exhibit domestically and abroad throughout the 1980s, having participated in solo and group shows at Staatliche Kunstsammlungen in Dresden, Monumentum Fine Arts in Minneapolis, as well as Centre Pompidou and Galerie Denise René in Paris. Henryk Stażewski died in Warsaw on 10 June 1988 aged 94. His funeral was held on 17 June and the artist was interred at the Powązki Military Cemetery in Warsaw. Legacy Owing to his long-standing career, Stażewski has had an important influence on the history of Polish modern and contemporary art. He has been called a "pioneer the classical avant-garde of the 20s and 30s" and described as "one of the most important" Polish artists to link the "pre-war and post-war Avant-garde tendencies." Stażewski's work is said to have "paved the way for the revitalization of geometric art" and has served as a source of inspiration for the younger generation of Polish postwar artists. Magdalena Abakanowicz, for instance, closely modeled her early textile works on Stażewski's reliefs and relied on the artist's use of "contrast as an organising principle". In 1990, an exhibition of Henryk Stażewski's abstract compositions at Centro Atlántico de Arte Moderno in Las Palmas recognized him as the Polish pioneer of concrete art, originally an offshoot of Neoplasticism initiated in 1930 by Theo van Doesburg which later gained popularity in Latin America during the 1940s and 1950s. In 1994, to commemorate the 100th anniversary of Stażewski's birth, Muzeum Sztuki in Łódź organized a major posthumous retrospective devoted to his oeuvre. In his review of the exhibition, critic and art historian Marek Bartelik wrote that for the numerous Polish admirers of the artist "his uncompromising stance serves today as a confirmation of their belief in the infinite depth and superiority of geometric abstraction." In 2009, Daniel Buren, with whom Stażewski had collaborated during