During the 1960s a new kind of artist seemed to be emerging in London: pictor transatlanticus. Amid mutterings of dismay about Coca-Colonization, Anthony Caro, Richard Hamilton, Richard Smith and others addressed themselves to New York City as their elders had directed their genuflections to Paris. "To have worked in New York did make a tremendous difference," Smith recalls. "It set you at a certain distance from other English painters. You could never pick up again with artists who hadn't been there, except as friends. You had a different set of references."
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