For Finley, the computer that generates his designs serves as a stylistic and historical blender into which he has tossed the strange formal devices and warped figures of Francis Bacon, the energy of mid-twentieth-century gestural abstraction and earlier Futurist experiments, the blocked-in color of postpainterly abstraction and hard-edge painting, the cartoonishness of Pop, and the stylistic signatures of computer graphics and image-manipulation software.

And in Love Me, Love My Dog, 1972, Frederick Hammersley tweaks austere hard-edge painting in a way that seems very twenty-first century, slyly opposing an off-white square with one in a hue that should be dubbed "Old Yeller.