in the late 1980s, steir became influenced by the artists john cage and agnes martin and began producing dripped, splashed and poured works, embracing the element of chance. the artist relates this work to the 8th and 9th century chinese yipin "ink-splashing" painters, having studied ink splash in the harmony of nature and humanity, inspired by tibetan philosophy. "wind and water" is an example of this phase of her work. in 1989–92 steir began limiting her colors to monochrome. in 1995, the monograph "pat steir" was published by the american art critic thomas mcevilley, chronicling the artists' life work up to that point. in november 1999, steir was the subject of an "art in america" cover feature, "watercourse way," by critic g. roger denson, who wrote that steir's lyrical waterfall paintings attest to her long-standing interest in asian art and thought, particularly the ancient chinese philosophy of daoism, with steir's literal and figurative motif embodying the flow of water (or in her case, paint) down a surface.