A large show of the thermographic photographs toured England and Scotland.  Later a visit to Cape Canaveral for a moon launching in the early seventies produced a series of works based on the world globe.  Searching for an equally new method of defining the the shape and size of the world, structures were built that allowed  distant locations to  be experienced by the gallery visitor.  Entire walls were built tipped in museums and galleries and individual pedestals were made including one which was used in Haiti in front of the presidential palace representing the angle of standing in New York City.  A series of shows around the world globe featured latitude differences on the earth’s great circle.

After the “Earth Curve” series encircled the world with seven sculptures shown at the Museum of Modern Art and two large work at a biennale in Medellin, Columbia,  it appeared to be the right time to return to kinetic grid paintings since attention had turned completely away from optical painting.  The new work attempted to make imagery move, as in a hammer hitting an object or a finger beckoning.  The motion had to be repetitive and the manner or representation schematic.  After spending time in the Louvre, the late 70s paintings introduced a degree of motion into historical subjects which in their traditional form suggested motion but did not move .  “Falling Out”, from “The Death of Socrates” was one such subject, completed in 1980.

Thermographic Portrait – 1971
Earth Curve (Boston-Medellin) – Tipped Wall 1971
Earth Curve (Haiti-NYC) - 1971
Earth Curve (Haiti-NYC) – 1975
Hammer Blow – acrylic on wood and canvas 1978
Beckoning (phase 1 & 2) – Acrylic in wood and panel 1979