People have always been searching for an idea, or a reason to get them off the chair to do something. So during the time of Abstract Expressionism, a lot of students were merely taught to be careless with abandon. Hit the canvas with a rag, with a broom, with a brush. You know, that’s called “tachism.” After you’ve made a mark on the canvas, does that mark suggest an inspiration, you see? Then you have to have the responsibility to finish something and do something about that mark that you made, because you destroyed a beautiful painting surface. So, so many people were being taught like that, that the brushstroke — the viscosity of paint — became a cliché. That’s one thing, that people became tired of that. So also, tired of an abstract painting being misinterpreted into something else. For instance, something that could be very ethereal looking and very unusual looking could have a figure of Popeye sitting there in the middle of it, but the artist didn’t really see it. Now that’s maybe a bad artist for having something in there that they didn’t want. Hans Hofmann would never have done that. He was a sharp old duck. He knew what he was doing. But a lot of people would slip, and flip, and then you could see the strangest artworks coming out. So people, so called Pop artists, a lot of them were commercial artists. Roy Lichtenstein did drafting, I was a billboard painter, Andy Warhol was a commercial artist. And others.