During this period Schanker continued exploring sculpting in plexiglass and printmaking techniques.
During the summer of 1970 his work was included in a show at the Parrish Museum in Southampton, Long Island, "The Summer Place, 31 Hamptons Artists."
In 1972 The Dore Ashton book on The Life and Times of the New York School,
Describes Schanker’s 1930’s group, The Ten, as “the best organized group of young expressionists, functioning in New York.”
An August 1972 New York Times article details a fund raising event at Guild Hall where he and other local artists painted two large canvases which were auctioned to support the McGovern candidacy for president. In 1973 Schanker was included in another Guild Hall exhibit, Twenty-one over Sixty.
In 1974 The Brooklyn Museum in New York published the book, Louis Schanker Prints, 1924 – 1971. In addition to a biographical review of his professional life the book contains a catalog of all of Schanker’s prints to date, including sizes and editions as well as several images. It includes an introduction by long time friend and supporter, Una Johnson, author and former Curator of Prints at the Museum. Probably the foremost Schanker scholar, Ms. Johnson wrote of Schanker’s early years in the introduction,
In the 1930’s, the woodcut, oldest of all print media was revived by a few artists
who saw the great possibilities of developing it into a vigorous contemporary
expression, foremost among these artists was Louis Schanker.
And of his recent activities,
During the 1960’s Schanker devoted most of his creative efforts to large-scale
hardwood sculptures before returning to the woodcut and relief print. The prints
of this period combine the woodcut with sheets of plastic cut in much the same
manner as the woodblock. In 1971 Schanker issued about twenty prints from
plastic plates. His most recent work with acrylic paints reveals his interest in the
high color intensities and different viscosities.