York City, where Caroline forged a lifelong friendship with art dealer, Carl Zigrosser. Zigrosser championed Durieux's career, first as director of the prestigious Weyhe Gallery, then as the curator of prints at the Philadelphia Museum of Art and including her in his many books. It was Zigrosser who recognized Durieux's talent and eye for satire and encouraged her adoption of lithography as a primary means of artistic expression. In 1931, the Durieuxs again were transferred to Mexico City. Eager to learn more about lithography, Durieux enrolled in the Academy of San Carlos (now known as National Autonomous University of Mexico) to study with Emilio Amero. In 1934, Durieux experimented with etching, a technique she learned from Howard Cook. Caroline wrote to Carl Zigrosser: "All my etchings are harrowing. I think it is because the medium is such a precarious one-the least slip and all is lost. I can't be funny on a copper plate. I feel tragic the moment I think of doing an etching." Back to New Orleans In 1937, Pierre Durieux was diagnosed with severe cardiac disease. His doctors ordered him to return to the United States, so the couple left Mexico reluctantly and returned to New Orleans. Later that year, Durieux was hired to teach in Newcomb College's art department for the fall term, where she placed particular importance on ensuring that her students could draw before advancing to other classes. October 1937, Durieux exhibited her etching, Hunger, as a member of the Society of American Etchers (now known as the Society of American Graphic Artists). The exhibition, hosted at the Marcel Guiot Gallery, featured 50 members and artist. Durieux took on a second job as director of the Federal Art Project (FAP) of the Works Progress Administration in February 1939. In a state where racial segregation remained legal until the 1960s, Caroline's Louisiana division of the FAP was the only project not to practice discrimination. Caroline always expressed great pride in that accomplishment: "I had a feeling that an artist is an artist and it doesn't make any difference what color he or she is." Robert Armstrong Andrews, associate director of the national office, praised Durieux's work: "It is my observation that the people in Louisiana have more concern with the potentialities of the Negro and less for his limitations than the people of any other state.” From 1943 to 1964, she taught in the art