In America as it came onto the edge of things, it did not take long for Tobey, then later Pollack and an entire generation or two [followed by another in Europe with Art Informal, Tapies, etc] to come up with an entirely new approach to abstraction. Approaches primarily centered on improvisation, an emphasis on scale, broadly brushed expressiveness, and a certain approach to materials and paint, process and gesture.
But once this abstract “expressionism” if you will is seen as exhausted, a more pictorial means is sought, and used to subvert representation. Thus we see Pop emerge and pictorial tactics intended to critique media and advertising and other coercive modes of representational pictorial production.
There’s more to be done, abstraction-wise. After the pictorial retrenchment of Pop, we see a new generation of “format” abstraction, from Stella to Bridget Riley, where each “signature style” claims a very specific, rather small, highly constrained territory of format, technique, and idea.
This heralds a generation that sees the most ruthless reductivist tendencies since Malevich: All black paintings and minimalism exploiting both pictorial and constructive means of extreme visual reduction.
The 70s sees a matched triumph of an ancillary aggressively formalist art criticism emphasized in art magazines such as ArtForum.
From there things swing so far as Coplans declaring the eternal triumph of photo-based, thus pictorial, imagery forever more, and the consequent rise of Flash Art magazine.
New endpoints. New subsequent diversion into pictorial means. And so it goes.