Approximately fifty sculptures, paintings, and prints on the fourth floor offered a panorama of the British art scene from 1959 to 1966, with works by Derek Boshier, Bernard Cohen, Robyn Denny, Michael Kidner, Phillip King, Gerald Laing, Bridget Riley, Ralph Rumney, Peter Sedgley, Richard Smith, and William Tucker. These British painters and sculptors were inspired by the American abstract movement. By the late 1950s, they had begun integrating symbols from their daily visual environment into their process and injecting their works with the same type of raw energy felt by rock ’n’ roll. The artists were profoundly optimistic. They sought to celebrate the world around them by incorporating innovative artistic trends, thereby inventing a new British art form. Some of them chose to draw on popular culture and everyday objects, which came to be called Pop art. Others favored abstraction. There was no contradiction between the abstract and Pop art works. Rather, they represented a form of continuity that could range from the very explicit to the subtle—a relationship that art critic Lawrence Alloway described as the “fine art–Pop art continuum.”