the label of "the modernists" and declared her one of the best artists of the group among those who studied with Robert Henri. Of her work the reviewer comments, "Miss Shore tempers her pigment with intelligence and understanding, and brings to her work an acute knowledge of psychology as well as sound technique, a thorough art training and a rare artistic perception. Her exceptional canvas, called "Mother and Child," is unquestionably one of the real gems of the exhibition." In 1916 Shore was a founding member of The Los Angeles Modern Art Society along with Bert Cressey, Meta Cressey, Helena Dunlap, Edgar Kellar and Karl Yens. Undoubtedly influenced by The Eight (Ashcan School) show in New York City, The Los Angeles Modern Art Society sought to give additional exposure to more experimental artists outside the juried shows of the California Art Club. The group's first show was held in the gallery of the Brack Shops. They held their second exhibition the following year in 1918. This show also included works from prominent East Coast artists such as Robert Henri, George Bellows, Maurice Prendergast and William Glackens. The Los Angeles Modern Art Society was short-lived, disbanding soon after their second show. Throughout the whole process, Shore remained close to her mentor, Henri, through letters. After the disbandment of the group, Henri consoled her, writing, "perhaps it is good that Societys die young while they are yet virtuous and useful. Some of the old ones have hung on long after those conditions and they stand as horrible examples." In 1919 Shore began showing with Caroline Bowles, Helena Dunlap, William Cahill, Edouard Vsykal and Luvena Buchanan under the name California Progressive Group. New York City and return to Los Angeles: 1920–1926 In 1920 Shore moved to New York, working in a studio on West 57th Street. During this time her work changed radically, morphing from painterly scenes of everyday life to colorful, close-up abstractions. It has been suggested that the change in style may have been a result of exposure to other modernists working in New York during the time, such as Arthur Dove, Charles Demuth, and Georgia O'Keeffe. In 1923 Shore and O'Keeffe showed in the same month, Shore at Ehrich Gallery and O'Keeffe at the Anderson Galleries. Critics reviewed both shows together, attributing the similarities in their works (both abstracted nature scenes) to a female sensibility. Their works were framed by