National Gallery of Modern Art in Rome. After a long stint in Italy, he returned to Iran where he taught for several years (until 1978), at the Faculty of Decorative Arts (the current University of Art) and the Faculty of Fine Arts in Tehran. In those years, he wrote two art methodology textbooks that are still amongst the most studied by Iranian art students today: Drawing method vol. 1 (1974) and Drawing method vol. 2 (1981). He carried out the translation of several art books on Paul Klee, German Expressionism, Venetian craftmanship and 20th century painting, from English, French and Italian into Farsi. The return to Iran and heavy teaching commitments kept Vaziri away from painting for almost one year. In 1965 Vaziri was at the peak of his artistic career that coincided with the acquisition of one of his paintings by the Modern Art Museum (MoMA) in New York. In 1967 he started working on a series of reliefs made of aluminium and iron sheets and was still anchored to a mono-dimensional approach. "As time went past, I drew my five fingerprints with a precise geometric shape, on a colourful background, I cut these shapes and freed them. The reliefs series is the result of my sand paintings. At that time, I gave a lot of thought to structural space, to the discipline of shapes and rhythm deliberately taken from the repetition of arches and roofs in village houses in the desert”. In 1968, Vaziri moved to the Cité des Arts in Paris, thanks to a grant, and he continued developing his work with aluminium and ondulated pieces of wood. That same year, his works were presented at Royan International Festival and exhibited at the national TV headquarters. Once he returned to Iran that same year, he started making his articulated sculptures­ – open and interactive artworks which encouraged the viewer’s participation. “These sculptures possess elongated, and serrated wooden parts attached to their middle bases through joints which could be manipulated and moved. In Vaziri’s own words, “they would open and close just like human joints”. According to the artist, the idea of these moving parts occurred while making and cutting pieces for the fixed sculptures. These earlier, immobile sculptures were actually devised from intersecting a few shaped, colorful flat plates, like fragments of a paintings.” (Darabi, 2021) During the 1970s, these sculptures would in turn inspire a series