His work is contempory in style. A blend of east and west, and it is calligraphic, and oriental in compositional form, with a strong of Van Gogh and touches of Indonesia in some of its detail. He paints with energy and speed completing a four by five foot canvas in 1-1/2 and 2 hours, and the energy of his action is reflected in the result. He plams to travel East in April visiting in New York, and Washington in a lecture tour that will take him to Mexico City where he will study murals and visit art museums.

      Affandi's first travel in the USA took him from coast to coast, from the grandest natural visitas to the most famous urbanscapes in the nation. As evident from the painting he made during these years, Affandi was not too tied to any particular campus or study course to travel around the U.S.

      Two other masterpieces from Affandi's first visit to America are Charles River, Boston and Bay Bridge. These paintings, splendid in execution, energetic involvement and composition, depict encounter-and transition-points between land and water, and between human-made and primal, natural elements. These works are powerful metaphors for departure, arrivals and encounters. We experience in these canvases something askin to the element of atmospheric vividness in classical Chinese landscape paintings,m along eith the sense that every part of the canvas (and the world) is alive as expressed in the space-time continuum spanning primary religions and quantum physics.

      In April 1960, in an article in the New York Times, the readership of one of America's most important newspaper again encountered the Indonesian painter Affandi, in a somewhat patrozining manner described as "a middle=aged cherub from Yogyakrta". More importantly, he is "the best known, most respected and highest priced" Indonesian artist.

      Bernard Kalb, at various times foreign correspondent for CBS, NBC and the New York Times, Indonesia supporter, and later assisstant Secretary of state for Public Affairs and spokesman for the State Department, continues:"His expressionist canvases are ablaze with colours and bold lines as though they were in rebellion againts the traditional concept of Javanese sweetness and passivity".

      In contrast to his first grand American landscape, Affandi's 1958 Times Square, New York is a jazzy, funky tribute to what was and is one of America's most famous urban scenes. One wonders whether Affandi saw the City, the Big Apple, as a human-made rock-faces and towering responses to the grand eroded stone columns and canyons he saw out West. In contrast to the timeless vistas of the Grand Canyon, this image is not only a potrait of a bustling metropolis, but of that part of the city associated with theatre, musicals, bars, and sex-business-the throbbing popular-culture heart of the city.