Despite participating in several exhibitions, including solo shows, for the next ten years Bluemner failed to sell many paintings and lived with his family in near poverty.

... How can the people agree on what is American style, if the painters themselves, and by their work, disagree profoundly as to what real painting itself is!

Ideally, art, pure, is of a sphere and of no country; the first real artists, always and everywhere, have either been importers or immigrants bringing the light with them.

And in the same sense, the future will not fail to stamp that of our own work as peculiarly American in which the living painter, here, has injected no conscious thought of his hailing from Hoboken or Kankakee, and every consideration of pure and modern painting and of the supreme quality he maybe capable of.He had a successful one-man show in 1935 at the Marie Harriman Gallery in New York City.

In 2009 the Homer and Dolly Hand Art Center at Stetson opened with a primary mission of housing a providing exhibition space for the Kouba Collection.

[11] Often overlooked in his lifetime, Bluemner now is widely acknowledged as a key player in the creation of American artistic Modernism, with better-known colleagues such as Georgia O'Keeffe and John Marin.

[citation needed] In 2013, the Montclair Art Museum in New Jersey presented an exhibition of Bluemner's works depicting the landscapes and industrial areas of Paterson, painted between 1910 and 1917, drawn from the Stetson holdings.

[13] An oil painting by Bluemner, Illusion of a Prairie, New Jersey (Red Farm at Pochuck) (1915) sold at Christie's, New York, for $5,346,500 on November 30, 2011.