"In Guston’s images these shapes [a square, a triangle, and a circle] masquerade as pines, hedges, topiary trees, hooded heads, bare bald heads, boulders, hewn stones, tablets, clocks wheels, and so on in a ceaseless metamorphic series emanating from each of these primary iconographic emblems. Together, they constitute the DNA of Guston’s art, the code that engendered its myriad mutations yet guaranteed its formal as well as symbolic integrity. In these three shapes East meets West, Sengai’s magisterial reductionism meets Leon Battista Alberti’s mastery of complexity, Cage and Feldman meet de Chirico and Picasso, and the universe in all its transformational potential became accessible to a brooding yet playful artist whose ambition was to hold together contradictions that overwhelmed or frightened away so many of his peers while claiming for himself an unlimited license to make old things new."
Robert Storr in Peter Benson Miller, Ed., Go Figure! New Perspectives on Guston, New York 2015, p. 15