Strong was shy about taking his work to galleries, in any case, and, by the mid-sixties, when he was ready to show his paintings, galleries were no longer interested in his elegant, beatific nocturnes and rich, oozing Stillian cloaks of red. Strong accepted this and moved on. Today, however, he has come to look like a much different sort of painter: time has borne out the true nature of his commitment to abstraction, which itself has followed the twists and turns of fashion; and his commitment now places him imply within a discernible tradition of Bay Area abstraction that began with Still and runs through Hassel Smith (another teacher, though never on a formal basis), as well as Lobdell Jefferson. What looked absurdly and gallantly eccentric twenty-five years ago now looks rather sure-footed and courageous, and Strong’s career takes on an individual logic and ¬†quality of inevitability.