friends such as John Graham, Carl Holty, Hans Richter, Joseph Stella, and Mark Tobey, all artists who similarly shared a belief that art should be made from physical beauty and spirituality. Von Wiegand continued her work as an art critic, and in the Spring of 1941, Carl Holty arranged for her to interview the Dutch artist Piet Mondrian, who was seeking refuge in the United States during World War II and whose work she was familiar with from the Gallatin Collection. She was commissioned to write the first English- language article about Mondrian by The Journal of Aesthetics and Art Criticism. She became close friends with him while helping him translate his essays into English. She watched Mondrian work on both Broadway Boogie Woogie and Victory Boogie Woogie, he influenced her to start creating abstract art and she moved towards Neo-Plasticism. However, she was also heavily influenced into painting abstractly by Hans Richter, the German-born painter, filmmaker and member of the Zurich Dada group; Wassily Kandinsky; Jean Arp; and Joan Miró. Kurt Schwitter's styles, much different from Cubism or Neo- plasticism, was evident around 1946, where she began making collages. She also organized an important show of Schwitter's collages with Naum Gabo and Katherine Dreiser in 1948. She became an associate member of the American Abstract Artists in 1941, a full member in 1947, exhibited with them from 1948, and later even became its president from 1951 to 1953. Charmion Von Wiegand became much more interested in Eastern religion and culture Theosophy, Buddhism in the 1950s, oriental styles and drawings such as Egyptian, Chinese, Indian, Hindu Tantric images and she started painting in straight lines by using tape, especially after Mondrian's death in 1944. In the 1950s, von Wiegand turned away from lines, but still made use of the geometric shapes, which were mostly cut from decorative papers of a color range much greater than Mondrian's and often overlapped, varying in size, direction, and paper texture. Her paintings began to contain many more symbols and themes, evident in her geometric forms in symmetrical compositions after her 1972 exhibition at the Birmingham Museum of Art in Alabama. Works Von Wiegand's first of more than 21 solo exhibitions was at the Rose Fried Gallery in New York, 1942. She participated in 35 major group exhibitions in the United States, Europe and Far East, including Peggy Guggenheim's 1945 Women's Show at the Art