ideas of the revolution. In 1928, works by Charlot were included with those of 21 other artists (including Rivera, Orozco, O'Higgins, Siqueiros, and Carlos Mérida) in an exhibition at the Art Center Gallery in New York organized by Frances Flynn Paine, the manager of a Rockefeller fund to sponsor Mexican artists. The exhibition had the co-sponsorship of the Mexican Ministry of Education and the Mexican National University. Between 1926 and 1928 Charlot spent three seasons deeply immersed in the excavation of Mayan temples at Chichen Itza. Hired by Sylvanus Morley of the Carnegie Institution and under the field direction of Earl H. Morris, Charlot meticulously traced and copied bas-reliefs and painted surfaces as they were unearthed, creating an invaluable guide to the reconstruction of some of the key structures of the temple complex. The work had a major influence on his own art, and led to a long friendship with Earl Morris and his wife Ann, a fellow painter-copyist at Chichen Itza. The Morrises took care of Charlot after his mother died in New York City in the winter of 1929, and together the three co-authored The Temple of the Warriors at Chichén Itzá, Yucatan, published in two volumes in 1931 and considered a classic in its field In the U.S., Charlot executed commissions for the Work Projects Administration's Federal Arts Project, including the creation of murals for Straubenmuller Textile High School in Manhattan during 1934–1935, and, in 1942, an oil on canvas mural for the post office in McDonough, Georgia titled Cotton Gin, . In 1944, Josef Albers invited Charlot to teach at the first Summer Institute of Black Mountain College. During his time there, Charlot completed two frescos, titled Inspiration and Knowledge (sometimes also called Study), on the pylons beneath the college's Studies Building. These frescos are likely the only intact artwork to remain on the historic site of Black Mountain College's Lake Eden campus. Charlot went to Colorado Springs, Colorado in 1947 to take a job at the Colorado Springs Fine Arts Center, where he taught fresco painting and worked with Lawrence Barrett on several editions of lithographs. While there he also taught art at The Fountain Valley School, an independent school for boys (at that time), founded in 1930. Charlot left the Fine Arts Center in 1949 under a cloud of misunderstandings between himself and the Arts Center's Board or Trustees and the Art Center's director,