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Maine (1972) comes from the height of Parsons’ engagement with abstraction and foregrounds the artist’s attunement to nature and the landscape. The combination of scattered abstract forms spread sparely across a monochrome expanse was one of the Parsons’ most noted compositional innovations. New York Times critic Roberta Smith described the approach as “a technique that… finesses its way between the emotionality of Abstract Expressionism and the formal ecstasies of Color Field painting.” In works such as this, Parsons used form to evoke nature, not in terms of specific topography but as effects of color and light.