return began, for the first time, to sculpt landscape forms. A few years later she was one of eleven sculptors to represent the United States in a competition held in London on the subject, "The Unknown Political Prisoner." The piece she presented, an abstract standing figure, did not win the award, but was nonetheless pictured in a New York Times article on the event. In 1956 she was given the first of several solo and group exhibitions at the Meltzer Gallery. Calling her work "semi-abstract," a critic said, "her feeling is exclusively sculptural and has nothing to do with illustration or literary values." A retrospective solo exhibition at Meltzer three years later drew from Stuart Preston of the New York Times a summation of her approach. He said the sculpture was formal but also expressive and abstract but with "acute individual characterization." He said she discarded the "trivia of realism in order to concentrate on her subject's ultimate shapes." When in 1958 she showed with two other sculptors at the American Museum of Natural History Preston wrote that "Rhys Caparn's carvings catch [her subjects] at fugitive moments, birds flying, gazelles leaping or horses rearing. Quick observation and a feeling for grace of movement are at work here." Similarly, when she showed landforms at a solo show of recent bronzes at Meltzer in 1960, Preston noted that the pieces stood "proxy for observed landscape." Later that year her sculpture was included in a group show entitled "Aspect de al Sculpture Americaine" at the Galerie Claude Bernard, Paris. The following year she was given a retrospective solo exhibition at the Riverside Museum. During the 1950s and 1960s, Caparn continued to participate in group exhibitions held by the Federation of Modern Painters and Sculptors and the National Association of Women Artists. She moved home and studio to Connecticut in the middle of the 1960s and thereafter favored local commercial galleries for exhibitions. A gallery in Bethel, Connecticut, gave her a 47-year retrospective in 1977. Reviewing the show a critic for a local paper described architectural pieces that had not previously been noted, pointing to her use of "the sparsest elements—a single while wall and lintel of its portal, a couple of arches, a village square, a fragmented empty chapel." Regarding a retrospective show in 1981 a critic for the New York Times wrote of landscape plaster reliefs that began to appear following her