abroad, the exhibition served as a symbolic repudiation of Soviet politics and Socialist Realism during the Cold War. Writing in the exhibition catalogue, Selz emphasized the strong visual interaction between Fangor's paintings and surrounding environment: While the early 1960s in Fangor's career were marked by frequent international travel, the artist continued to do limited work in Poland until 1962. Between 1960 and 1962, Fangor was commissioned to decorate train platforms of the newly re-constructed Warszawa Srodmiescie PKP railway station in Warsaw. Fangor designed a series of abstract wall and ceiling mosaics that recalled the artist's investigations into the immersive properties of color in painting and its impact on the spectator. The shifting hues of mosaics set a visual rhythm and were meant to seamlessly integrate five colors (red, orange, yellow, blue, and green) into the station's architectural interior. Unlike Studium Przestrzeni, however, the Srodmiescie mosaics also had a practical application and were intended to help passengers navigate the platforms: red, orange, and yellow mosaics indicated east, while green and blue directed passengers moving westward. Travels and ICA Fellowship (1961-1966) In 1961, Fangor left his teaching position at the Warsaw Academy of Fine Arts and moved to Vienna. The following year, he was invited to participate in a fellowship at the Institute of Contemporary Art in Washington, D.C. funded by the Ford Foundation, providing an artist from the Eastern Bloc with a rare opportunity to lecture at universities across the U.S. and interact with key figures of American post-war art scene, including Josef Albers, Mark Rothko, and Robert Goldwater. Rothko's Abstract expressionist works consisting of large swaths of color are said to have made an impact on Fangor, even though he had not shared the former artist's interest in the emotional and spiritual qualities of painting. While in the U.S., Fangor also interacted with Clement Greenberg, an American critic and a champion of Abstract expressionism, who found little interest in the artist's ideas pertaining to spatial interaction and insisted that Fangor move toward the "liquefied, poured colors" of Helen Frankenthaler or Kenneth Noland if he were to achieve commercial success. While Fangor had generally benefited from the exposure to various Western artistic vocabularies, he did not see his participation in the ICA fellowship as an act of political defiance against the communist regime and in private correspondence acknowledged that the funding had provided him primarily with space and means to continue