francis hewitt, who had a masters in art and later did course work toward a phd in the psychology of perception, provided the conceptual framework for the anonima group; their projects addressed the latest information about the science and psychology of visual perception. anonima's anti-commercial stance (see statement below), including their ultimate refusal to interact with the commercial artworld, had the effect of removing them from the lexicon of known artists from that time. in a catalog essay for frank hewitt's 1992 retrospective at the robert hull fleming museum in burlington, vermont, william c. lipke wrote that the artists believed that "commercialization and popularization obfuscated the real issues" being addressed by their work. further he writes that work by anonima is "better understood in light of the theories and data of perceptual psychology; the commitment to a systemic study of visual information irrespective of stylistic or economic pressures."