Over the years Dusti Bongé's work continued evolving within its abstract language. And in her final creative decade, there is a shift in the nature of her abstraction. The highly expressionist, broad, agressive, gestural movements of her abstract expressionist compositions of the 1950s and 60s evolved into slightly more defined fields or identifiable shapes of color.  In general, the works take on a more lyrical quality. 

By the 1980s many of her works have very nuanced abstract arrangements, with distinct linear, curving, circular, or rectangular elements. Although these forms are still not specifically representational, they are occasionally suggestive of familiar things. This is clearly evident in such hallmark works as Oyster Chorus and Passage.

There are several interesting aspects to these works. One is Dusti’s sense of balance as she places her forms in relation to one another. Another is the character of the marks she uses to define them as well as distingush them.  And finally, often there is more of a sense of foreground and background within these structured arrangements of defined elements.