By 1950, Slobodkina was living and working in Great Neck, Long Island (she purchased the home in 1948), and creating larger scale canvases in her new – much bigger – suburban studio. Rejecting Abstract Expressionism as the “drip, splash, and smudge school,” Slobodkina resolutely continued to create tightly controlled geometric canvases.
Slobodkina still actively exhibited in New York City, achieving some of her greatest critical successes during this decade. In 1952, Slobodkina exhibited her Composition with White Ovals in the Whitney Annual, which the Museum subsequently purchased (she was also represented in the Whitney annuals of 1950, 1951, 1953, 1955, and 1958). In 1954, art critic Emily Genauer declared Slobodkina “a classic among abstractionist painters.”