tested the following year on the streets of Warsaw. In 1972 he created his first solo installation: Corridor at Galeria Wspolczesna, Warsaw. The following year he began exhibiting with Galeria Foksal, Warsaw. In 1975, Wodiczko traveled for the first time to the United States where he was artist-in-residence at the University of Illinois, Urbana and exhibited at N.A.M.E. Gallery, Chicago. He participated again in the Biennale de Paris, this time as a solo artist. In 1976, Wodiczko began a two-year artist-in-residence program at the Nova Scotia College of Art and Design in Halifax, Nova Scotia, Canada. He emigrated from Poland in 1977, establishing residency in Canada teaching at the University of Guelph in Ontario, and began working with New York art dealer Hal Bromm. In 1979 he taught at the Ontario College of Art in Toronto and continued teaching at the Nova Scotia College of Art and Design until 1981. From 1981 to 1982 he was artist in residence at the South Australian School of Art (currently part of the University of South Australia in Adelaide). In 1983, Wodiczko established residency in New York City teaching at the New York Institute of Technology, Old Westbury. The following year, he received Canadian citizenship and in 1986 resident-alien status in the United States. He began teaching at MIT in 1991, maintaining his residence in New York City while working in Cambridge, Massachusetts. Work Projections Wodiczko began developing his public projections in 1980 interfacing the facades of urban architecture – whether public monuments, public buildings, or corporate architecture – with images of the body to juxtapose the physical space of architecture with the psycho-social space of the public realm. "In the process of our socialization," the artist writes, "the very first contact with a public building is no less important than the moment of social confrontation with the father, through which our sexual role and place in society [are] constructed. Early socialization through patriarchal sexual discipline is extended by the later socialization through the institutional architecturalization of our bodies. Thus the spirit of the father never dies, continuously living as it does in the building which was, is, and will be embodying, structuring, mastering, representing, and reproducing his 'eternal' and 'universal' presence as a patriarchal wisdom-body of power." In an often cited example, Wodiczko projected an image of the hand of Ronald Reagan, in formal dress shirt with cufflinks, posed in the pledge