in his works, george pusenkoff often refers to art-historically significant events of the 20th century. in the beginnings of his artistic career pusenkoff was close to appropriation art, since the 2000s he has increasingly turned to abstract art. his paintings are now dominated by color, line, and surface. these works in which he quotes from art history appear very catchy and "familiar", because the viewer already knows them in other contexts, such as the famous the black square by kasimir malevich. pusenkoff also quotes or modifies, for example, works by josef albers ("homage to albers", 1998), robert rauschenberg ("erased rauschenberg", 1997), piet mondrian ("mondrian 2", 1999) and other important artists of historical significance. these works of pusenkoff are to be understood and perceived as a statement about the present; cultural criticism takes immanently place in the image. for pusenkoff, good art is always also an artistic examination of the zeitgeist. for him this means dealing with the upheavals of our time through the emergence of computers on an artistic level: "pusenkoff is a conceptual painter in the sense that he doesn't work spontaneously and intuitively, but that a reflection on questions of image formation, perception, the original and painting in the media age is the basis of his art." (in german: "pusenkoff ist ein konzeptueller maler in dem sinne, daß [!] er nicht spontan und intuitiv ans werk geht, sondern ein nachdenken über fragen der bildentstehung, der wahrnehmung, des originals und der malerei im medienzeitalter grundlage seiner kunst ist.")