Affiliated with the second-generation Abstract Expressionist movement of the late 1950s and early ’60s, Lynne Drexler’s symphonic and vividly chromatic compositions synthesise a breadth of stylistic influences, merging Impressionism, Fauvism and Pointillism with the ‘Push and Pull’ theory imparted by her teacher, Hans Hofmann. Executed through tessellated rectangles of paint, Drexler’s complex fields of colour emanate an organic, kinetic dynamism that recall her appreciation for nature and classical music. Her work is eminently recognisable and of its time, emblematic of the experimental mid-century zeitgeist through technical explorations of colour, form and spatial tension, as well as attuned to the histories of preceding art movements. Residing on the periphery of the mainstream art canon during her lifetime – eclipsed, in part, by her more lauded male counterparts, including her husband, John Hultberg, Drexler shared the fate of many female artists of the post-war era who are only now being reintegrated into the annals of art history.