Koenig, and became close friends with the painter David Carr, who also shared her interest in the industrial landscape as a subject. These trips resulted in a number of paintings of men and women at work in factories and on building sites, together with images of power stations, electrical plants and chemical works. The novelist Margaret Drabble has noted that while many of her early paintings included the human figure, it gradually disappeared from her works, and Clough's canvases became more abstract during the 1960s and 1970s. In 1960, Clough had her first retrospective at the Whitechapel Art Gallery, under the directorship of the curator Bryan Robertson. During a 1982 interview with Robertson, which was published in the catalogue for an exhibition of Clough's work held that year at the Warwick Arts Trust, the artist described how: "I prefer to look at the urban or industrial scene or any unconsidered piece of ground." In the latter decades of her career, Clough made a number of abstract works that reference fragments of urban detritus and rubbish that she found on the streets of London, such as plastic bags, discarded gloves, and oil stains. The first time she exhibited these paintings was in 1989 in a show entitled Prunella Clough: Recent Paintings, 1980-1989 at Annely Juda Fine Art Gallery in London. The exhibition was a “critical and financial success” and helped Clough gain recognition and popularity. The early 1980s saw Clough embark on a series of paintings that focussed on an abstracted 'gate' motif, and she also became fascinated by the shadows cast by passing people on subway walls, creating a number of works on this theme. In 1979, Clough played a key role in helping to organise the major retrospective of Eileen Gray's work at the Victoria & Albert Museum and the Museum of Modern Art, New York. Although Clough worked predominantly as a painter, she was also an accomplished printmaker. Clough created lithographs early in her career, and from the early 1960s often worked at the Curwen Studio in Plaistow. Throughout her career, Clough also made a number of assemblages from found objects that she gathered on her trips to industrial sites, the extent of which only became clear when these were discovered in her studio after her death. Clough's work enjoyed increasing recognition from the 1970s onwards, with exhibitions at the Serpentine Gallery in 1976, followed by shows at