The 1960s marked a significant transitional period in Philip Guston's artistic journey, a decade that saw him moving away from the abstract expressionism that had defined his work in the 1950s towards a more figurative style that would dominate his later years. This shift was not only a stylistic change but also reflected Guston's increasing engagement with the social and political upheavals of his time. During the early part of the decade, Guston's work still showed allegiance to the abstract expressionist movement, with paintings characterized by their abstract forms and gestural brushwork. However, by the mid to late 1960s, Guston became disillusioned with the abstract movement, feeling it restricted his ability to directly address the tumultuous social and political environment of the United States during this era. His work from this period began to incorporate more figurative elements, marking the start of what would become a profound shift in his artistic direction​ (The Art Story)​​ (Wikipedia)​​ (Sothebys.com)​. Guston's return to figuration was met with mixed reactions. His late 1960s and early 1970s works, such as "City Limits" (1969), featured hooded Klansmen figures, evoking a direct commentary on the political and social unrest in America, including the Civil Rights Movement and the Vietnam War. These works showcased Guston's desire to engage more explicitly with the world around him, a move that he felt was necessary to address the "vital issues" of the time​ (The Art Story)​​ (Sothebys.com)​. One notable piece from this period, "Outdoors" (1964), visually oscillates between solid forms and gestural abstractions, symbolizing Guston's struggle between the abstract and the figurative. This painting, along with others from the late 1960s and 1970s, such as "Legs, Rug, Floor" (1976) and "Red Sky" (1978), highlighted Guston's shift towards a narrative, figurative style that dealt explicitly with themes of violence, societal conflict, and personal identity. These works underscored his belief that art should reflect and comment on the broader social context, a conviction that drove the evolution of his style throughout the 1960s​ (Sothebys.com)​. Guston's decision to reintroduce figuration into his work can be seen as a response to the "ridiculous and miserly" limitations he perceived in the purely abstract art of the time. By embracing figuration, Guston opened up new avenues for expressing the complexity of the human condition, as well as his own doubts and concerns about the art world and beyond​ (Studio Int'l)​.