began to emerge, and in many cases the general public was not prepared for his "naked and uncompromising disclosure of the human condition." At the end of 1926, Albright and his brother spent three months in southern California near San Diego. While there, Albright produced several works that are representative of the maturity of his style, including I Walk To and Fro Through Civilization and I Talk As I Walk (Follow Me, The Monk) and I Drew a Picture in the Sand and the Water Washed It Away (The Theosophist). By 1927, he and Malvin returned to Illinois where their father Adam had repurposed an old Methodist church for use as the Albright Gallery of Painting and Sculpture. Due to the brothers’ proximity for the next two years, Malvin adopted the pseudonym Zsissly to avoid confusion with Ivan. It was during the years at this studio that Ivan's style began to cause controversy: In May 1928 his painting The Lineman was used as the cover for the trade magazine Electric Light and Power. The magazine's readership thought the figure of the lineman was inaccurate and depressing; however, the painting was far more successful with art critics. Not long after, Albright began working on paintings that emphasized the microscopic quality of surface as much as baroque form, beginning with Woman (1928). When Woman was displayed at the Toledo Museum of Art in the 17th Exhibition of Selected Paintings by Contemporary American Artists in 1929, the painting was met with protesters who first had the painting removed, followed by another group protesting the painting's removal. By 1931 and the onset of the Great Depression, Albright's career was becoming established. In July of that year he exhibited fourteen paintings at the Art Institute of Chicago alongside fellow artists George and Martin Baer. That year as well, following the completion of the monumental Into the World There Came a Soul Called Ida (1929–30), he began his decade-long obsession with his magnum-opus That Which I Should Have Done I Did Not Do (The Door) (1931). According to Albright, the Depression didn't significantly affect his career because people didn't buy his paintings "whether times were good or bad, [so] it didn’t make a bit of difference." Indeed, his father's success in art sales and real estate allowed Albright to live comfortably through the 1930s. Nonetheless, as did many other artists of the period, Albright participated in