of Contemporary Art in which also the first papers of the later Abstract Expressionists, like Possibilities, were published. Paalen's short sojourns in New York and the two solo exhibitions made him known as a painter in artist's circles, however his predominant absence from the New York art scene and the wide reception of DYN and Form and Sense fostered his image as a kind of intellectual secret agent primarily exerting indirect influence on the events through his intensely discussed ideas. In a note with the title America has a new art movement (the first authentic art movement here) Barnett Newman listed Paalen together with Pollock, Rothko, Hoffman, Gorky, Baziotes and Motherwell as "The men in the new art movement"; Motherwell appears with a question mark, while Paalen is listed twice, once with the adding "New" (probably dividing Paalen's surrealist from his DYN-works). The German art historian Andreas Neufert, who has extensively explored Paalen's life and work, suggested in his 2015 biography on the artist, that DYN and the New York surrealist journal VVV were widely inspired by each other and can be seen partly as a hidden correspondence between Breton and Paalen. This assumption has been already denoted (but not fully explored) by Yve-Alain Bois in 2004 in his contribution "1942a – The depoliticization of the American avant-garde..." The new concept of space in painting It was in the 1940s that Paalen's art particularly played a major role in changing the conception of abstract art. Due to his magazine DYN, his presence and exhibitions in New York City, 1940 Julien Levy, 1945 Peggy Guggenheim's The Art of This Century gallery and 1946 Galerie Nierendorf in Berlin, he influenced significantly the genesis of Abstract Expressionism. Paintings such as Les premiers spaciales of 1941 set entirely on the new pictorial space because they concentrate on pictorially immanent means: Rhythm, light and colour. Important is that they transform the rhythmical appearance of the fumage imprints into a neo-cubist rhythm, which Paalen then compares with the fugue and jazz, through a mosaic-like fracture and complementary contrasts. He wants to create the atmosphere of a deeply moving, gripping encounter with beings that themselves remain silent. There is no action, no metamorphosis in them and nothing happens with them in the space. The picture itself is the being, or a frozen resonance of it. Precisely because of this total silence, every topical expectation put to them