A staunch modernist might scoff that with the "Night Landings" of 1970 Jane Frank's art begins to "go gentle into that good night" (perhaps even lapsing into "postmodernism"). But if these more literal aerial landscapes - created in 1970 and after - lose some of the tension that gives the earlier paintings their distinctive power, they nevertheless address, with an intensely intimate delight, a perspective on reality which we must remember was still quite young in 1970, at least as a painterly subject. In "Aerial Perception" (1985), author Margret Dreikausen sees Jane Frank's aerial landscapes as sharing the spirit of the work of artists such as Georgia O'Keeffe, Susan Crile, and others, in creating images which "reflect contemporary interest in reality", experienced from a historically new vantage point. Dreikausen insists that this art "does not merely show landscape from the air" but incorporates the "earthbound vision" into "remembered images from both spaces". Dreikausen also sees Frank's aerial paintings as consisting of two basic types: the "day scenes" (such as "Ledge of Light") and the "night landings" (such as "Night Landing: Sambura"). The day scenes show a fascination with the play of actual shadows and false, painted ones, "inviting the viewer more closely to inspect the textures on the canvas and its 'reality' ". In the night landings, by contrast, the city is the focus, nestled in the canvas's aperture, like a precious jewel in a dark velvet box, with its "enticing twinkling lights", suggesting "the anticipation of the unknown, mysterious city... The use of beads and glitter, partially covered with paint, conveys a sense of personal landscape".