In the early 1990s his work incorporated figuration and abstraction, perhaps extending from some of the works of the Aids Epidemic Series where abstraction is present as an ominous abyss. He returns to the subject of Balseros and Exiles using fields of circles and grids to generate a piercing dialog with the figure. In 1992 he moves with his wife and two sons from New York to New Orleans where a warehouse studio provides him space for producing larger scale works, constructions and installations. He begins shooting photographs of the New Orleans environment which become attachments in paintings. A new materiality enters the work: twisted metal studs, nails, wood, board, plastic barricade fencing and weathered sheet metal. Ironically the new found materiality and subject of exile connect in his installation, SWEPT AWAY, 2008 presented at Prospect 1. New Orleans Biennial from his Post Katrina series. Numerous series follow, some of which include the Museum Plans, Shifting States, Shootings in Sandy Hook and the Boston Bombing.