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| Jane Freilicher Wide Landscape 1963 oil on canvas Whitney Museum of American Art, New York |
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| Stanley Freborg St Tropez 1960 oil on canvas Chrysler Museum of Art, Norfolk, Virginia |
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| Sidney Goodman Seated Woman II 1966 oil on linen Hirshhorn Museum, Washington DC |
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| Sidney Goodman The Escape 1960 chalk and sanguine on paper Hirshhorn Museum, Washington DC |
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| Sidney Goodman Night King 1960 graphite on paper Hirshhorn Museum, Washington DC |
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| Jean Dubuffet L'Instant Propice 1962 oil on canvas Guggenheim Museum, New York |
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| Jean Dubuffet Les Inconsistances 1964 acrylic on canvas National Gallery of Australia, Canberra |
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| Jean Dubuffet Nunc Stans 1965 vinyl paint on canvas Guggenheim Museum, New York |
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| Thomas George #21 1967 1967 oil and acrylic on canvas Smithsonian American Art Museum, Washington DC |
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| Paul Feeley Alruccabah 1964 oil on canvas Smithsonian American Art Museum, Washington DC |
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| Paul Feeley Formal Haut 1965 acrylic on canvas Guggenheim Museum, New York |
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| Ralph Fasanella Modern Times 1966 oil on canvas Smithsonian American Art Museum, Washington DC |
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| Richard Estes The Candy Store 1969 oil and acrylic on linen Whitney Museum of American Art, New York |
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| Ger Gerrits Memory of Switzerland ca. 1960 gouache on paper Rijksmuseum, Twenthe |
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| Sam Gilliam Green Web 1967 acrylic on canvas Smithsonian American Art Museum, Washington DC |
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| Milton Glaser Aretha Franklin 1968 offset-lithograph (poster) National Portrait Gallery, Washington DC |
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| Milton Glaser California 1969 colored inks and collage on board (commissioned by Time magazine) National Portrait Gallery, Washington DC |
WILLIAM BLAKE (1751-1827) – Although Blake's immediate and direct influence must have been small, there is hardly any poet who exhibits the tendency of his time in metre more variously and vehemently. In his unhesitating and brilliantly successful use of substitution in octosyllabic couplet, ballad measure, and lyrical adjustments of various kinds, as well as in media varying from actual verse to the rhymed prose of his "Prophetic" books, Blake struck definitely away from the monotonous and select metres of the eighteenth century, and anticipated the liberty, multiplicity, and variety of the nineteenth. And he differed, almost equally, from all but one or two of his older contemporaries, and from most of his younger for many years, in the colour and "fingering" of his verse.
WILLIAM LISLE BOWLES (1762-1850) – A generally mediocre poet, who, however, deserves a place of honour here for the sonnets which he published in 1789, and which had an immense influence on Coleridge, Southey, and others of his juniors, not merely in restoring that great form to popularity, but by inculcating description and study of nature in connection with the thoughts and passions of men.
– George Saintsbury, from Historical Manual of English Prosody (1910)