& Todd. Hugh Robertson, one of the firm's principals, had written a reply to Rivera by May 9. In the letter, Robertson wrote that Rivera had deceived Rockefeller Center Inc. in the contract he made with them, and thus, Rivera was compelled to remove the Lenin portrait immediately. However, it was unclear whether Rivera understood that the painting belonged to Rockefeller Center Inc. After reading the letter, Rivera went back to his painting. On May 10, 1933, as Rivera and his assistants worked on the mural, they were scrutinized throughout the day during what Rivera called "the battle of Rockefeller Center". By the evening, Robertson had ordered that Rivera stop all work on the mural. Rivera was paid in full, but the mural was covered in stretched canvas and left incomplete. He was unsatisfied with the monetary payment, saying that he intended to complete the mural: "I will not change my mural even if I lose in the courts." Rivera's net profit from Man at the Crossroads only amounted to US$7,000 (), a third of his total payment, after accounting for all expenses. He promised to reproduce the mural at any building that asked him to do so. On May 12, two days after the stop-work order was announced, Rivera was also dismissed from a commission at Chicago's Century of Progress exhibition, where he had been hired to paint a mural for General Motors' pavilion. An architect for GM cited the controversy surrounding Man at the Crossroads as the grounds for Rivera's dismissal. The concealment of Man at the Crossroads was itself controversial. The artist John Sloan, the writer Lewis Mumford, and the photographer Alfred Stieglitz all showed support toward Rivera's position, while the Communist Party was stuck between endorsing a former member or his wealthy patron. The painter Edwin Blashfield supported Rivera's dismissal because the premise of Man at the Crossroads was contrary to the American government. In May 1933, Rockefeller Center Inc. announced that the mural would "remain hidden for an indefinite time". Within days of the stop-work order, artists' groups had drawn up manifestos to demand that Rivera be able to complete his mural. In December 1933, Rockefeller Center developer John R. Todd proposed that Man at the Crossroads be moved to MoMA, and suggested that Rivera could be re-hired to finish the mural. Rockefeller Center Inc. agreed to this proposal, but it was never carried out