When Morris Louis showed in 1958, everybody [like in 'Art News', by Tom Hess] dismissed his work as thin, merely decorative. They still do. Louis is the really interesting case... In every sense his instincts were Abstract Expressionist, and he was terribly involved with all of that, but he felt he had to move, too.

1960's, concerning the position of stain painting. In: The New York school – the painters & sculptors of the fifties', Irving Sandler, Harper & Row, Publishers, 1978, p. 319 note 68