quickly. Later in 1939, Caparn participated in a group exhibition at the Passedoit Gallery. In reviewing the show Howard Devree said, "Rhys Caparn's 'Bird' has about it more than a little of antique Chinese abstraction of treatment and her 'Stalking Cat' compasses sinister stealth." In 1942 Caparn exhibited sculptures of animals from countries then at war at an exhibition held at the Bronx Zoo, made posters supporting the war effort, and participated in a fund-raising event called "Women Can Take It." In 1944 Caparn was elected president of the Federation of Modern Painters and Sculptors (the organization she had helped to found four years earlier). In that role she wrote the Museum of Modern Art to take issue with what she called its "increasingly reactionary policies" toward the work of American artists. In February of that year the Wildenstein Gallery gave a one-person show of her animal sculptures and drawings. Reviewing the show, a critic for the New York Times said, "The true spirit of all these animals has been caught." At the same time Naomi Jolles of the New York Post interviewed Caparn regarding her life and work. In the interview she said she saw her work was an extension of her life and added her regret that people tended to see art as something separate from the daily lives they led. Caparn began part-time work as an art instructor in 1946. Over the next 25 years, she taught classes two days a week at the Dalton School, a private school in Manhattan. She later said she was surprised how much she enjoyed the work and surprised as well that she was good at it. In 1947 she served on a jury of the National Association of Women Artists to select works for an exhibition at the National Academy of Design. When the president of the association removed a sculpture called "The Lovers," Caparn resigned. She resumed her membership after the piece was re-installed following an apology from the president for what she said was a misunderstanding. Later that year she showed animal subjects in a solo exhibition at Wildenstein Galleries, including a group called "White Stallions" and a single piece called "Doe" that Devree said were among the best things she had done. The year after that she accompanied her husband on a trip to countries behind what was then being called the Iron Curtain and after her