ABSTRACT
Older established galleries took on a few of the younger artists, but of far greater significance were newly opened galleries dealing primarily with the second generation, such as the Tibor de Nagy, Stable, Martha Jackson, Poindexter, and Leo Castelli. The aesthetic policy of Arts during the second half of the fifties was substantially shaped by Hilton Kramer. He was not sympathetic to Abstract Expressionism generally, but he acknowledged its energy and worldwide influence, and he tended to single out for acclaim young artists in the New York School. Art writers of the fifties also began to include second-generation artists in their books on contemporary art. The Whitney Museum began to include numbers of second-generation artists in its large annual exhibitions after 1955. In 1958, of the painters represented in the Nature in Abstraction show, roughly one-sixth were second generation, including Julian Beck, Helen Frankenthaler, Good-nough, Angelo Ippolito, Paul Jenkins, Joan Mitchell, and Jon Schueler.
