Differentiation, not reduction, is the aim of these articles. It was my hope to propose internal differences and distinctions within the general grouping of artists called Abstract Expressionist. In one case the use of biomorphic form is taken as the stylistic common denominator of a subgroup of Abstract Expressionists at a certain moment of history. In the case of Gottlieb my intention was to isolate one period of his work that I both admire on its own merits and consider representative of much New York art of the forties in its evocation of myth. In "The American Sublime" I have taken another subgroup within Abstract Expressionism, one I feel to be of singular importance, and have attempted to define a connection between its intentions and the traditional aesthetic of the sublime. An extension of this line of thought, of course, runs through the piece on Newman's Stations of the Cross.