The ICA had been at last able to purchase its own premises in late 1950. In contrast to the conservatism of most art galleries and museums in England, the ICA was progressive and avant-garde—London's daily newspaper christened it “Advance Guard H.Q.” The opening exhibition, 1950: Aspects of British Art, emphasized the more adventurous younger British artists such as Eduardo Paolozzi, Richard Hamilton, and William Turnbull—artists about whom Alloway would soon be writing. In 1951, the year of what was perceived by many critics as a jingoistic Festival of Britain, the ICA showed decidedly cosmopolitan exhibitions of, not only Matta, but also Picasso as well as Surrealist films such as Un Chien Andalou. Furthermore, the ICA encouraged critical debate among its young and enthusiastic audience by hosting a series of “Public Views” in December 1950 and throughout 1951. The subject of the discussion was either the current ICA exhibition or an artist whose work might be on display at another London Gallery. The cultural range available at the ICA in the early 1950s was a heady one in the context of post-War British art. The tenth congress of the Congrès Internationaux d'Architecture Moderne (CIAM) was held in Hoddesdon in 1951 and drew leading Modernists including Le Corbusier who was persuaded to open Richard Hamilton's Growth and Form exhibition at the ICA. Philip Johnson and Serge Chermayeff lectured at the ICA while they visiting the Congress; other lectures were given by Sybil Moholy-Nagy on the work of her husband, and Paul Elouard on Picasso. There was also a series of lectures on contemporary art by the art historian and critic J.P. Hodin.

Alloway was attending as many events as possible and on November 11, 1952 was a speaker on recent sculpture at the “Points of View” discussion— the new season's title replacing “Public View.” Earlier in the year he had written a report for Art News and Review of a Points of View meeting when there had been two discussions, one on Francis Bacon, the other on Balthus.