Most mathematically produced paintings paint mathematics, e.g. fractal art. This can be justified in light of the famous essay "The Unreasonable Effectiveness of Mathematics in the Natural Sciences" by the Nobel Laureate physicist Eugene Wigner in which he asserted that the ability to uncover heretofore unknown properties of the physical universe by manipulation of symbols is a profound mystery. However, as fine art, painting mathematics is a niche. I have crafted a generative mathematical system to create art with the freedom and emotional depth of manual art. To demonstrate this I will compare some of my work to the  famous flow painting Bagdad by Gerhard Richter. Richter creates these paintings on a flat horizontal painting surface. He first pours paints of various colors on the surface. He then pushes the paints with a sponge. Finally, he affixes a pane of glass over the painted surface causing the paint to briefly diffuse in an uncontrolled manner. Using the sponge is a major relinquishing of control by an artist renowned for his talent as a representational painter and the final step is a total loss of control. I compare this to my “neoflow” art. Using several flow type pieces created with my system I will describe extensions of Richter’s method allowing elements of complex symmetry to be seamlessly introduced into the pseudo-random patterns of standard flow and how those elements can be “re-randomized” to achieve a layered esthetic unavailable to the manual process. From there I will segue into explorations of variations on other prominent themes of modern art, drawing on works from Chuck Close, Wassily Kandinsky, Gustav Klimt, Marc Chagall and Gene Davis. In summary, the system allows significant creative expansions of many modern artistic themes-a clear example of a contribution to modern painting.