In 1970, at the height of an established career as a leading Abstract Expressionist, fifty-seven-year-old Philip Guston confounded critics and alienated fellow artists with a show of figurative work: ominous narrative paintings featuring cartoonlike Klansmen. Now the stuff of modernist legend, Guston’s transition from his so-called abstract impressionism to a heavily painted, moody figuration is revisited in a groundbreaking exhibition co-organized by Joanna Weber, acting curator at the Yale University Art Gallery (where the show debuted last spring), and Fogg Art Museum associate curator Harry