in the Stable Gallery Invitational Show. In the late 1950s, through Kenzo Okada, she met and was invited by Betty Parsons to join her new gallery, Section Eleven, becoming the youngest woman to ever show her work there. At Betty Parsons' show, Godwin met the director for the Solomon R. Guggenheim Museum, James Johnson Sweeney. He was interested in Godwin, and asked her to send a small collection of her work. He received Abstraction 1954 and Abstraction #15. He enjoyed her work, although at the time he did not add them to the Guggenheim Collection. She shared a studio with Franz Kline. She also met other prominent male artists such as Mark Rothko and Marcel Duchamp. Her success in mid-century Abstract Expressionism is notable, as there were few women celebrated among a movement associated with well-known male artists such as Jackson Pollock and Willem de Kooning. In a 1981 interview, Godwin stated: "when I first went to New York in the early 1950s, there were just a few thousand painters living there... now there are tens of thousands so many people trying to gain notice, its unbelievable how competitive it is...." She credits her professor, Jewett Campbell, with her desire to move to New York City. In the 1980s she maintained three studios, one in a barn in Connecticut, one in Greenwich Village in New York City, and one in Suffolk, Virginia. In 1999 Godwin was a panelist for "Hans Hofmann as Artist and Teacher" symposium at the Metropolitan Museum of Art in New York City. Style Godwin was considered a second-generation abstract expressionist. She practiced a style of painting that emphasized interpretation of experience and emotion through improvisational construction of the work, combining the language of color with gestural movements. Her work was influenced by environmental causes, gardening, modern dance, and Zen. Her passion for the environment was a recurring element in her canvases, although these landscape elements refer to the artist's inner terrain, which often echo the disturbances of external nature. Her early influences arose out of her childhood and having assisted her father with gardening. Soon after moving to New York City, she became friends with Martha Graham through an earlier connection made while still a student at Mary Baldwin College. Graham's performances influenced Godwin, who often incorporated the dancer and choreographer's dynamic gestures into the composition of a painting. Speaking of one such piece, her 9-foot