Artists in this category included: Jan Müller, (1922–1958); Robert Beauchamp, (1923–1995); Nicholas Marsicano, (1914–1991); Bob Thompson, (1937–1966); Ezio Martinelli, (1913–1980) Irving Kriesberg, (1919–2009).

[5] "During the war years and into the 1950s," Judith E. Stein writes, "the general public was to remain highly suspicious of abstraction, which many considered un-American.

"[8] Backing this mission statement was an editorial committee that included Isabel Bishop (1902–1988), Edward Hopper (1882–1967), Jack Levine (1915–2010), Raphael Soyer (1899–1987) and Henry Varnum Poor (1888–1970).

"[10] The literary historian Marjorie Perloff has made a convincing argument that Frank O'Hara's poems on the works of Garace Hartigan and Larry Rivers proved "that he was really more at home with painting that retains at least some figuration than with pure abstraction.

"[12] O'Hara aligned the New York Figurative Expressionists within abstract expressionism, which had always taken a strong position against an implied protocol, "whether at the Metropolitan Museum or the Artists Club."

Thomas B. Hess wrote: "[T]he 'New figurative painting' which some have been expecting as a reaction against Abstract Expressionism was implicit in it at the start, and is one of its most lineal continuities.