tutor, that Laffoley would arrive at a format for his large scale paintings that would dominate his work for five decades. On weekdays during this period, Laffoley found employment with Emery Roth & Sons where he worked on the plans for the yet to be built World Trade Center Towers before being terminated upon his suggestion of bridges joining the two buildings. After the death of his father in 1963, Laffoley returned to Boston and eventually established his first dedicated studio space, at 36 Bromfield Street, on Christmas Day, 1968. It was there that Paul's career began to "connect" with an early show at the Orson Welles Theater, which was "hijacked" and taken to the Woodstock Music Festival for presentation by Dean Gitter, without Laffoley's permission. In an effort to recover his work, Paul took the bus to Woodstock, which exposed him to the then-current countercultures of the day. This was followed by numerous exhibition opportunities and curatorial projects that lead to the creation of his Boston Visionary Cell (1971). The Boston Visionary Cell, which Paul Laffoley founded on the model of an artists' guild, was a highly communal and curatorial undertaking. The charter of the Boston Visionary Cell underscores Laffoley's thought processes "to develop and advance visionary art". By the late 1980s, Laffoley began to evolve from the spiritual and the intellectual to the view of his work as an interactive, physically engaging psychotronic device, perhaps similar to architectural monuments such as Stonehenge or the Cathedral of Notre Dame and their spiritual aura. Works such as Thanaton III (1989), The Orgone Motor (1983), and the Geochronmechane: The Time Machine from Earth (1990) followed this concept. After the destruction of the World Trade Center towers on September 11, 2001, Laffoley was one of a number of architects who, in 2002, submitted designs for the competition to plan the Freedom Tower. Laffoley took his inspiration from the work of Catalan architect Antoni Gaudí. His conception was to plan a gigantic hotel in the style of Gaudí's Sagrada Família church in Barcelona. After the Austin Museum of Art organized a traveling survey of his career in 1999, Mr. Laffoley became something of a cult figure for curators around the world. The Palais de Tokyo in Paris devoted an entire room to his work in its 2009 exhibition "Chasing Napoleon", and several of his works were included in "The Alternative Guide to the