participated in group exhibitions at the Peggy Guggenheim Gallery, and he had his first one-man show at the Artists Gallery in 1943. He then went on to be represented by Betty Parsons, exhibiting first at the Wakefield Bookshop, the Mortimer Brandt Gallery and then when Parsons opened her own gallery on 57th street. Reinhardt had regular solo exhibitions yearly at the Betty Parsons Gallery beginning in 1946. He was involved in the 1940 protest against MoMA, designing the leaflet that asked How modern is the Museum of Modern Art? His works were displayed regularly throughout the 1940s and 1950s at the Annual Exhibitions held at the Whitney Museum of American Art. He was also part of the protest against the Metropolitan Museum of Art in 1950 which became known as "The Irascibles." Having completed his studies at the New York University Institute of Fine Arts, Reinhardt became a teacher at Brooklyn College in 1947 and taught there until his death from a heart attack in 1967. He also taught at the California School of Fine Arts in San Francisco, the University of Wyoming, Yale University and Hunter College, New York. Works Paintings Reinhardt's earliest exhibited paintings avoided representation, but show a steady progression away from objects and external reference. His work progressed from compositions of geometrical shapes in the 1940s to works in different shades of the same color (all red, all blue, all white) in the 1950s. Reinhardt is best known for his so-called "black" paintings of the 1960s, which appear at first glance to be simply canvases painted black but are actually composed of black and nearly black shades. Among many other suggestions, these paintings ask if there can be such a thing as an absolute, even in black, which some viewers may not consider a color at all. In 1967 he contributed one of 17 signed prints that made up the portfolio Artists and Writers Protest Against the War in Viet Nam organized by the group Artists and Writers Protest. Reinhardt's lithograph, known as "No War" from its first two words of text, shows both sides of an air mail post card addressed to "War Chief, Washington, D.C. U.S.A." with a list of 34 demands that includes "no napalm," "no bombing," "no poverty," "no art of war," and admonitions concerning art itself, "no art in war" and "no art on war." Writings His writing includes comments on