this stretch, her work was exhibited in galleries that included the Stendahl Galleries, the Los Angeles County Museum of Art, and the Vigeveno Galleries. In 1944, Life magazine published pieces from a series they commissioned from Reindel in 1943, entitled Women at War. These images were meant to display the experiences of working women supporting the Allied war effort. Previously in 1937, Life magazine had included a featured piece on Reindel's Martha's Vineyard pieces including The Netmenders. In the 1943 series, with pieces like Calship Worker, Wilmington, California (1943), Reindel uniquely captured women workers in war time – from the lens of a working woman artist. LIFE published nine paintings developed from observations of women workers at and sketches of the Lockheed Air Craft Factory in Los Angeles. Reindel's work capturing Rosie the Riveter (1943) types helped to popularize the song "Rosie the Riveter." Four of these pieces are in the National Museum of Women in the Arts permanent collection. In 1948 and 1949, Reindel achieved notoriety with works that focused on the fear and horror of the atom bomb. These works were part of a series known as "The Effects of War on People," and include Hiroshima (1949), The Praying Mothers (1949), Angels Wept at Los Alamos (1949), Beast on Bikini (1949), Radioactive Mother and Child (1949), and Brother and Sister (1949). Throughout her career, Reindel also illustrated, sketched, created collages, and developed restoration skills. Indeed, she applied her restoration skills in work for the heiress, art collector and philanthropist Doris Duke during the 1950s and 1960s. In the 1950s and 1960s, she worked in metal sculpture. During this time she also created teaching materials and wrote books about painting. Furthermore, Reindel painted portraits of famous actors such as Spencer Tracy, Ronald Colman, Gregory Peck as well as some of their family members. Spencer Tracy, Greer Garson, Vincent Price, Ray Milland and Hedda Hopper were among the Hollywood personalities who collected her art. Reception and genre Reindel's work was received in different ways across her career. With illustrations and landscape paintings, a portion of Reindel's work was identified with American Regionalism. Her early works of still life and landscape scenes were also noted for their surreal tendencies. Others described her work up until 1939 as Formalist Realism. Reindel described her work, in turns, as "psycho-realist" and noted in 1937 that her "landscapes and still lifes are straight realism with