curator Peter Selz featured him, Campoli and Cohen in a 1955, ARTnews article, "Is There a New Chicago School?", and included him, Campoli and Westermann in the 1959 Museum of Modern Art (MoMA) exhibition, New Images of Man, as examples of vanguard expressive figurative work in Europe and the United States. In later years, the Monster Roster would be regarded as forerunners to the more widely known Chicago Imagists. Career Golub, who always painted in a figural style, drew upon diverse representations of the body from ancient Greek and Roman sculpture, to photographs of athletic competitions, to gay pornography; often pulled directly from a huge database he assembled of journalistic images from the mass media. He likened his painting process to sculptural technique and employed a method of layering and scraping away paint, sometimes using a meat cleaver, leaving varying amounts of canvas untouched. From 1959 through 1964, Golub and his wife, artist Nancy Spero opted to live in Paris, a move occasioned in part by the belief that Europe would be more receptive to their work dealing overtly with issues of power, sexual and political. During this period Golub's work increased in size because of larger available studio space and the inspiration of the French tradition of large-scale history painting. He also switched from using lacquer to acrylics, left more of the surface unpainted, and began to grind the paint directly into the canvas. While in Italy for the year of 1956, both Golub and Spero were profoundly influenced by the figurative works of Etruscan and Roman art, whose narratives addressed ancient themes of power and violence. When Golub returned to New York State from Paris in 1964, the Vietnam War was escalating, and he responded with his two series: Napalm and Vietnam, works that show the vulnerability of the body while also demonstrating the power of modern weapons. Golub's work for his Vietnam paintings were at first titled Assassins, eventually being changed to not attribute the intention of the soldiers. One of his longest works would include that of Vietnam II, with it stretching over twelve meters. He and Spero became active with Artists and Writers Protest, "the first such group to take a public stand against the war". This group would be centered around the organization of anti war activities. In 1967, as part of the group's Angry Arts Week, Golub organized The Collage of Indignation, a