The exhibition also included the works of William Calfee, Gene Davis, Willem de Looper, Thomas Downing, Robert Franklin Gates, Colin Greenly, Sam Gilliam, Helene Herzbrun, Valerie Hollister, Sheila Isham, Jacob Kainen, Rockne Krebs, Howard Mehring, Mary Pinchot Meyer, Kenneth Noland, V.V.
[2] which also included Downing, Gilliam, Greenly, Herzbrun, Isham, Krebs, Louis, Mehring, Meyer, and Noland, as well as works by Leon Berkowitz, James Gabriel, Mary Orwen, Carroll Sockwell, and Robert Stackhouse.
In his master's thesis, "Development of a Graphic Vocabulary," for American University, Larson wrote that he aimed to study "natural forms... not previously used to any great extent in painting and drawing," and selected skeletal systems, insects, protozoa, and plants (excluding flowers).
Art critic, Andrew Hudson, described the work in Artforum as "daring" and "going against "safe taste,"" and reminiscent of Ferdinand Léger, Nicholas Krushenick, and Paul Klee rather than Kenneth Noland or Morris Louis.
[6] In a review of the 10th Anniversary of the Jefferson Place, Washington Star critic Benjamin Forgey wrote that Larson "wins the humor department with a canvas shaped like a funny-bone,"[7] Of a 1970 exhibition, where Larson worked with plywood cutouts, Washington Post critic Paul Richard wrote, "The gallery visitor, long accustomed to precision and austerity is likely to find these squirmy things menacing and disconcerting," further stating how the art evokes the works of Frank Stella, Robert Irwin, the Surrealists, and Henri Matisse's paper cut-outs.