 Thus, commenting on a 1999 Turner exhibition, "The New York Times" art critic Roberta Smith writes that, in 1966, "the Museum of Modern Art established the artist's lush late works ... as precursors of both Impressionism and modernist abstraction.The current show is a feast of Frankenthaleresque plumes of color...".Smith further observes that such works "conflate extremes of sea and sky with extremes of painting, showing both to contain elements of the unfathomable and the unknown."