lack of technique have reached their paroxysm in the psychological signification of the current use of the college [collage]". The critical response to the society portraits in the exhibition, however, was generally negative. In November–December 1945 Dalí exhibited new work at the Bignou Gallery in New York. The exhibition included eleven oil paintings, watercolors, drawings, and illustrations. Works included Basket of Bread, Atomic and Uranian Melancholic Ideal, and My Wife Nude Contemplating her own Body Transformed into Steps, the Three Vertebrae of a Column, Sky and Architecture. The exhibition was notable for works in Dalí's new classicism style and those heralding his "atomic period". During the war years, Dalí was also engaged in projects in various other fields. He executed designs for a number of ballets including Labyrinth (1942), Sentimental Colloquy, Mad Tristan, and The Cafe of Chinitas (all 1944). In 1945 he created the dream sequence for Alfred Hitchcock's film Spellbound. He also produced artwork and designs for products such as perfumes, cosmetics, hosiery and ties. Postwar in United States (1946–48) In 1946, Dalí worked with Walt Disney and animator John Hench on an unfinished animated film Destino. Dalí exhibited new work at the Bignou Gallery from November 1947 to January 1948. The 14 oil paintings and other works in the exhibition reflected Dalí's increasing interest in atomic physics. Notable works included Dematerialization Near the Nose of Nero (The Separation of the Atom), Intra-Atomic Equilibrium of a Swan's Feather, and a study for Leda Atomica. The proportions of the latter work were worked out in collaboration with a mathematician. In early 1948, Dalí's 50 Secrets of Magic Craftsmanship was published. The book was a mixture of anecdotes, practical advice on painting, and Dalínian polemics. Later years in Spain In 1948, Dalí and Gala moved back into their house in Port Lligat, on the coast near Cadaqués. For the next three decades, they would spend most of their time there, spending winters in Paris and New York. Dalí's decision to live in Spain under Franco and his public support for the regime prompted outrage from many anti-Francoist artists and intellectuals. Pablo Picasso refused to mention Dalí's name or acknowledge his existence for the rest of his life. In 1960, André Breton unsuccessfully fought against the inclusion of Dalí's Sistine Madonna in the Surrealist Intrusion in the Enchanter's Domain exhibition organized by Marcel Duchamp in New York. Breton and other Surrealists