Her family was Mormon but later left the church. Her dark skin and brown eyes had long left her feeling uncomfortable in blond, blue-eyed Salt Lake society; she recalled that one day some American Indians came to her door and she saw people who looked like herself for the first time, and connected with them. At age twenty, Dorothy had changed her name to Zohmah and traveled to Mexico. She got involved in the Mexican art movement of the 1920s and 1930s, and became close friends with young Mexican and American artists, such as Charlot and O'Higgins, in the circle of Diego Rivera. Charlot and O'Higgins had a long-lasting friendship, sharing their interest on each other's work even after Charlot went with his mother to live in New York in 1928. When in Mexico City, Charlot would stay in a humble room Pablo rented in downtown Mexico City on the roof of a dilapidated building on the street of Belisario Dominguez. In December 1930, to prepare for his solo exhibit in early 1931 at the John Levy Gallery in New York, O'Higgins lived with Charlot for six months in his small unheated apartment on Union Square and 14th Street, near the Art Students League, where Charlot was teaching. At the same time, mid-January 1931, a few blocks away, José Clemente Orozco was painting murals for The New School at 66 West 12th Street. Charlot and Orozco had maintained frequent correspondence in previous years. Both commented on each other's murals in Hawaii in 1952. In 1940, Charlot applied for and was accorded American citizenship. A dual citizen of the United States and France, he retained passports from both countries. Work Charlot is generally recognized as having brought international attention to José Guadalupe Posada, a Mexican printer who had produced more than 15,000 prints and lithographs, devoted mostly to the popular readers of newspapers in pre-revolutionary Mexico, in which he would present political satires using cartoon-like skeletons; these are a variety of calavera. The original style and plastic language of Posada's art struck Charlot when he saw his prints being sold in 1922 on street corners, and he went on to find his forgotten printing blocks (woodcuts, leadcuts, zinccuts, etc.) in the workshop of Posada's former publisher. With O'Higgins and the son of Posada's publisher, Charlot participated in 1928 and 1930 in the publication of catalogues of Posada's prints, a project conceived