and accessories, seeking to promote the revival of German fashion and increase cooperation between artists and manufacturers. The second exhibition was an enormous undertaking with the display of more than 1,600 objects, many chosen by Reich, to showcase the quality and breadth of German industrial design. Over 4,000 people visited the exhibition between 18 April and 31 May 1922 and the Newark Museum acquired over sixty-five objects from the exhibition, including a children's clothing design by Reich. The show did not travel in the United States as hoped, given a strong anti-German sentiment subsequent to the First World War. Nonetheless, the show had a profound effect on American design and its influences may be seen in the work of U.S. designers after this date. Lilly Reich and Ludwig Mies van der Rohe Through her involvement with the Werkbund, Reich also met Ludwig Mies van der Rohe and moved from Frankfurt to Berlin to work with him in 1926. She was Mies' personal and professional partner for 13 years from 1925 until his emigration to the U.S. in 1938. It is said that they were constant companions, working together on curating and implementing exhibitions for the Werkbund, as well as designing modern furniture as part of larger architectural commissions, such as the Barcelona Pavilion in 1929 and the Tugendhat House in Brno. Two of their best known modern furniture designs from this period are the Barcelona Chair and Brno Chair. Albert Pfeiffer, Vice President of Design and Management at Knoll, has been researching and lecturing on Reich for some time. He points out that: Mies became the director of the Bauhaus School of design and architecture in 1930, and Reich joined him there in January 1932. She was one of a small number of female teachers on staff, and only the second to hold the title of "Master". She taught interior design and furniture design, heading the interior finishings department, which included, weaving, wall painting, metalwork, and cabinetry workshops. Writing about Reich's tenure at the Bauhaus, art historian Adrian Sudhalter states that Reich "also manage[d] much of the daily administration of the Bauhaus for Mies." In 1996, the Museum of Modern Art in New York presented an exhibition on her work "Lilly Reich: Designer and Architect" which for the first time brought attention to this influential but almost forgotten designer. Reich began her career in textile design which was the acceptable