Janet Flint, then Curator of the Department of Prints and Drawings at the National Museum of American Art in Washington, D.C., wrote in 1982: "Louis Lozowick occupies a premier position among those artists whose imaginations have been touched by the city and its rich variety of architectural forms.

In his paintings, drawings, and especially his superb lithographs, Lozowick achieved new aesthetic dimensions in his interpretations of the skyscrapers, smokestacks, elevated trains, and bridges of America.

He was a man of diverse interests and talents – historian and critic as well as pioneering artist – whose significant contributions to the art and thought of his age are only coming to be fully recognized".

But it was Berlin, where he lived between 1922 and 1924, which had the most profound impact in developing his machine aesthetic, initiated through his friendship with the Russian Constructivist El Lissitsky and other émigré artists.

These hard-edged, linear styles, evident in a lithograph called "New York (Brooklyn Bridge)," suggest the possibility of an efficient reframing of the world, as did the political theories espoused in New Masses.

Now his choice of subject became increasingly devoted to almost classic visions of figures posed in idyllic landscapes, picturesque trees and landmarks, or treasured vignettes from summer holidays and trips.

Schjeldahl wrote "…the aesthetic zest of sheer modernity leaks through in the work of such artists as the Ukraine-born Louis Lozowick, a still underrated virtuosic precisionist.

His elegant lithograph "Construction" (1930), showing work on a New York street, with a cutaway view of stacked wooden supports underground, is formally inventive and feels celebratory.