Critics identify glowing and unusual color, dramatic lines, intense energy, and emotional range as the hallmarks of his style.

[2] As an activist, Randall was known for peace and environmental work, founding and chairing arts organizations, and promoting international cultural understanding.

[12] National media declared him "Art Find of the Season" and carried images of his show's Mexican landscapes, New York cityscapes, and portraits.

[15][16] His East Coast success was closely tracked in his home state, which saw in it a national recognition of Oregon's beauty and cultural significance.

[17] In 1940, Randall married Helen Nelson, a Canadian sculptor who had joined the Salem Federal Art Center in 1938 and specialized in instructing blind children.

[18] The couple moved to Mexico City, where Byron became involved with the Taller de Grafica Popular and befriended one of its founders, the muralist and printmaker Pablo O'Higgins.

[20] Randall saw strong government support as a major factor in Mexican cultural excellence, and advocated that the USA follow its example.

[25] The Randalls moved to California in 1942, from where Byron shipped out to the South Pacific, as a Merchant Marine, with his artist friend Robert P.

[28] In San Francisco, he became part of a North Beach artistic community associated with Henri Lenoir, proprietor of the Iron Pot, 12 Adler Place, and Vesuvio Cafe.

[36] Shortly after World War II ended, Randall worked as an art correspondent for a Canadian news agency, which sent him to Poland and Yugoslavia.

[37] His East European scenes of cities, war ruins, and Jewish survivors were exhibited in Chicago and L.A.[38] During this decade Randall's work was included in multiple annual San Francisco Art Association shows: three times as watercolorist, once as oil painter, and once as printmaker.

[53] Following his wife's death, Randall returned to California, where he developed the mixed media "Water Street, San Francisco" still life series.

[59] In 1964, Russia's Pushkin Museum acquired 48 of their block prints for its permanent collection, and hosted a televised exhibition devoted to their work.

[62] Involved in the anti-war movement, they were US delegates to the 1965 Eighth World Congress for Peace, National Independence, and General Disarmament, in Helsinki.

He developed the Doomsday series of oils, prompted by his understanding of contemporary life as a time "when unthinkably hideous destruction confronts most of us on earth".

[68] Exhibited in 1971, it was described as a "powerful statement" of a "sinister and senseless" condition; from the series the works "A Day at the Beach", "Thanksgiving", "And Then There Were None" were praised for their use of a "whirling madness of color" to depict "half-recognizable" bodies and objects exploding from a miasma.

He collected saws, planes, jackscrews, and brace-and-bits, which he turned into "strong and colorful" oil paintings that the San Francisco Carpenter Union acquired for its Hall.

[77] Randall's international activism continued; in 1975, he, along with Emmy Lou Packard was among a group of socially concerned artists that exhibited in Tashkent, invited by the Uzbek Friendship Society.