Elmar Kits’s semi-abstract works are well known. There were many of them and they were not in one style. Many of these works directly addressed relations between man and society, others gravitated towards surrealism, still others dealt purely with the interplay between form and colour. Reviews mention that Kits’s semi-abstract works grew organically out of his earlier creative work, even though the differences are quite significant. Voldemar Erm notices a style of usage that boldly reshapes and subjectively interprets reality, the frequent occurrence of motion motifs, restless usage of form, dynamic brush strokes, yet also restraint in the range of colour and the close connection between the works and contemporary problems (this last remark could have also have been meant as justification of abstract art in the wake of socialist realist canons). Painter Ilmar Malin notes in one review that Kits’s art includes “people with the possibilities of their endlessly abundant conditions” but also inner tension and an abundance of points of view.