Kadish joined poet and friend Jules Langsner on a trip to Mexico, where they were commissioned to paint a mural on a wall in the former summer palace of the Emperor Maximilian in the state capital of Morelia. They produced the impressive The Struggle Against Terror, whose antifascist themes were clearly influenced by the work of David Siqueiros. A two-page review in Time magazine quoted Siqueiros's description of them: "the most promising painters in either the US or Mexico." In Mexico he also met and spent time with Frida Kahlo and husband Diego Rivera. In 1934–35, Guston and Kadish also completed a mural that remains to this day at City of Hope Medical Center, a tuberculosis hospital at the time, located in Duarte, California. WPA murals In September 1935, at 22 years of age, he moved to New York where he worked as an artist in the WPA program during the Great Depression. In 1937, he married artist and poet Musa McKim, whom he first met at Otis, and they collaborated on several WPA murals. During this period his work included strong references to Renaissance painters such as Piero della Francesca, Paolo Uccello, Masaccio, and Giotto. He was also influenced by American Regionalists and Mexican mural painters. In 1938 he painted a post office mural in the US post office in Commerce, Georgia, entitled Early Mail Service and the Construction of Railroads, and in 1944, he completed a mural for the Social Security building in Washington, D.C. Abstract expressionism In the 1950s, Guston achieved success and renown as a first-generation abstract expressionist, although he preferred the term New York School. During this period his paintings often consisted of blocks and masses of gestural strokes and marks of color floating within the picture plane as seen in his painting Zone, 1953–1954. These works, with marks often grouped toward the center of the composition, recall the "plus and minus" compositions by Piet Mondrian or the late Nymphea canvases by Monet. Guston used a relatively limited palette favoring black and white, grays, blues and reds. It was a palette that would remain evident in his later work despite Guston's attempts to expand his palette and reintroduce abstraction to his work, late in life, as evidenced in some of his untitled work from 1980 that has more blues and yellows. Neoexpressionism In 1967, Guston moved to Woodstock, New York. He was increasingly frustrated with