In the 1990s, Alex Katz continued to evolve and refine his distinctive approach to painting, characterized by his flat, bold use of color and form. This period was marked by his ongoing exploration of landscapes, figures, and the innovative use of cutouts, which blended the boundaries between painting and sculpture. Katz's focus on landscapes, particularly inspired by his time in Maine, remained a significant part of his work. He captured the serene and vivid environments of Maine with a stylized quality that maintained the graphic flatness seen in his portraits. These landscapes, often large in scale, aimed to recreate the immersive experience of being within the expansive American landscape, filled with soft, painterly elements that brought to life the movement of trees, grass, and clouds​ (TheCollector)​. The 1990s also saw Katz delve into night-time landscapes and city scenes, which were almost monochromatic and veered close to abstraction. Yet, hints of realism through leaf patterns, rock formations, or moonlight ripples kept these works grounded. For instance, his "Black Brook" series, continued from the 1980s, showcased darkened landscapes that were nearly devoid of color, exploring the tension between light and shadow, realism and abstraction​ (TheCollector)​. Moreover, Katz's interest in fashion models in designer clothing, noted from the late 1980s, highlighted his fascination with the ephemeral nature of fashion. This period also emphasized his engagement with printmaking, producing lithographs, etchings, silkscreens, woodcuts, and linoleum cuts, which expanded his exploration of form and color​ (Wikipedia)​. Throughout the 1990s, Katz's work, both in landscapes and portraiture, remained a vital part of the art world, cementing his status as a leading figure in contemporary art. His continued exploration of form, light, and space, alongside his unique blend of realism and abstraction, contributed to his lasting influence on subsequent generations of artists​ (The Art Story)​.