in modern art was becoming a major issue in Paris, and word of the malaise developing there reached New York in the 1930s (Hess, 1959, 8-9).
The Depression in the 1930s brought with it the inauguration of government-sponsored art projects which channeled New York painters and sculptors into social groups. A spirit of belonging to a unique group developed, and an audience was developed by the artists themselves. This process has been followed by American a