and starting a new career. He taught design at the Newark School of Fine and Industrial Arts, the Brooklyn Museum of Art School and finally in 1960, began his long association with the Cooper Union in Manhattan as a professor of art history and sculpture. Setting himself up in a small carriage house on East 9th Street, a walking distance from Cooper, the new empire included a nasty basement where his etching press was set up. So Kadish, after a ten-year exile, returned to the then booming New York School scene that still championed Abstract Expressionist painting and largely ignored sculpture, except for the legendary likes of David Smith. Apart from his teaching and art-making in the late 1950s and 1960s, Kadish also moonlighted as part-owner of the White Horse Tavern, the legendary Greenwich Village bar where the British poet Dylan Thomas died from alcohol poisoning in 1953. During the 1960s, Kadish's wife, Barbara Weeks Kadish, actively pursued her lifelong passion for archaeology at New York University, eventually heading NYU's pre-history dig at Aphrodisias in southwestern Turkey. Julian, the youngest of their three sons, accompanied Barbara to Turkey for several of her summer expeditionary digs. In 1962, Dan Kadish, the couple's oldest son, married Philip Guston's daughter, Musa Jane Guston. In 1977, Kadish led a group of students in completing the restoration of the historic Foundation Building at Cooper Union, casting missing and broken pieces of the cast-iron lamps and capitals in the shop's foundry, saving the school approximately $40,000. Kadish created an impressive oeuvre of deeply scored terra cotta and bronze sculpture that was viscerally reflective of his Abstract Expressionist roots and hammered out a respectable exhibition career. It included stints with the Elaine Poindexter Gallery and Grace Borgenicht Gallery as well as two retrospective exhibitions at the Artists' Choice Museum in SoHo (1985) and the New Jersey State Museum (1990). Reception But for a variety of complex reasons, some of it a result of his decidedly prickly and often combative manner, Kadish made a far larger impact on a generation of art students who passed through the great hall of Cooper Union than his career in the New York City art world. Those lucky ones heard Kadish's thundering lectures on Egyptian funerary sculpture, Greek mythology, and cinema-like slide shows of exotic art and architecture from around the world. A portion of that huge slide collection is now part