the newly opened Art Gallery at Kalemegdan, in November 1929. With fifty exhibited works of art—paintings and aquarelles—he represented his almost four years of work in France. Most of the displayed work consisted of landscapes. During his stay in Paris, Hakman painted two self-portraits, one in 1926 and the other in 1928. He became a member of the group OBLIK as early as 1927, immediately after it was founded. However, he had only one collective exhibition with the group—their first exhibition at the Belgrade Art Gallery, held from 15 December 1929 to 4 January 1930. Apart from regularly taking part in collective exhibitions, both at home and abroad, he also had two solo exhibitions during the 1930s. In the year 1930, he began teaching as well: first he taught drawing at the first grammar school for boys in Belgrade (1930-1935); and then moved on to the Technical University where, at the department of architecture, he became a professor of ornamental drawing skills and in aquarelle painting (1935-1940); in 1940 he became an associate professor at the Academy of Fine Arts, which was founded two years earlier. Hakman also worked hard to protect the interests of his class, for a better treatment of art and better relations between artists themselves. That is why, in March 1930, he was one of artists who founded "Kolo Jugoslovenskih Likovnij Umetnika" (Association of Yugoslav Plastic Artists), a group that had the aim to "unite all Yugoslav plastic artists of modern artistic views... to establish the closest connections with all Slavic artistic associations of similar views and to act with them towards developing the idea of Slavic brotherhood... to fight decisively against any suppression of art, for the complete freedom of artistic creation and expression, against biased judgement in awarding artistic prices at collective exhibitions of artistic groups at home, bearing in mind that all of those groups have full moral responsibility for the artistic value of the work they exhibit." Since such a democratic concept and broadly defined program received neither the support of artistic groups nor the understanding of Belgrade artists, Kolo Jugoslovenskih Likovnij Umetnika ceased to exist without having held a single collective exhibition nor celebrating its first anniversary. From May to August 1930, Hakman was in Paris once more, working hard and preparing for his next exhibition in Belgrade. Hakman held this third solo exhibition together with Sreten Stojanović in February 1931