In the mid-1970s, when Krushenick began to withdraw from the New York art world and his vision began to falter, he turned his focus towards education. But his painting continued. By this time, his style had evolved quite a bit. Long gone were the feathery, curvilinear forms of the mid-1960s. Now the implicit and explicit form of the grid took precedence on his canvases, almost like a prescient depiction of the boom in technology that would soon arrive. As Corinne Robins noted in 1975, "The new paintings, like the old, have a tonal feeling; but now, rather than the blare of trumpets, the buzz of an IBM machine making crazy computations comes to mind." Into the 1980s, his paintings would retreat in precision as well as in color, marked by flurries of cartoonish, confetti-like ribbons amid cool grays, blues and pinks. By the end of that decade and the start of a new one, yellow began to dominate Krushenick's work, with a renewed exactness playing out across smaller canvases. From the early 1960s to the late 1990s, perhaps the one through line is the black lines themselves, delineating Krushenick's forms but uniting his works.