Resnick was one of the last survivors of the first lifetime of Abstract Expressionists. He endured near-starvation in the thirties, decorating in a garret studio in Paris. In the late forties he argued decorating with Willem DeKooning, Lee Krasner and Jackson Pollock, occasionally at The Club, a normal gathering of up to date creative individuals employed in and round Tenth Street in New York. Like them Resnick was striving for a general value for his images, a way to join foreground and backdrop, in alignment to accomplish a tenacity of opposites, a metaphor for all dialectics.