Visual artist Lila Moreno first gained recognition in the 1930s for watercolor illustrations that carefully documented the structures of flowers and leaves. In the mid-1950s, however, she began producing large abstract paintings in which recognizable plants were replaced by networks of lines and colored shapes. Some critics have described this change as Moreno's rejection of botanical art. Yet the shift was less absolute than those critics suggest, since even Moreno's nonrepresentational paintings often organize lines and shapes according to growth patterns she had recorded while studying plants outdoors.
Which statement, if true, would most directly support the claim in the underlined sentence?