composition. Mexico The first visit to Taxco, Mexico in 1932 marked a crucial turning point in her career, she worked on fresco murals for the Mexican government. Between 1933 and 1936, Greenwood and her sister painted five separate murals in Taxco and Morelia, Mexico. Her older sister Grace served as her painting assistant while working in Mexico. There she met the artist Pablo O'Higgins, who introduced and taught her fresco painting. As a result, she began focusing her efforts on fresco-mural painting. Greenwood's first fresco mural was Mercado en Taxco (1933), located in the stairwell in the Hotel Taxqueño in Guerrero. The success of this piece led to commissions from the Universidad Michoacana de San Nicolás de Hidalgo in Morelia, and the Abelardo L. Rodriguez Market in the historic center of Mexico City. An example of her process is evident in the preparation for the decoration at Universidad Michoacana de San Nicolás de Hidalgo in Morelia, Greenwood spent a year studying and immersing herself in the Purépecha Indians culture before completing this project. Her work during her Mexican mural period had revolutionary themes and was influenced by the stylization of José Clemente Orozco and Diego Rivera in its figures and dynamic compositions. Commissions, murals, and other work Greenwood was the first woman to receive a mural commission from a foreign government. Shortly after these projects, she returned to the United States to create a mural for the social hall of the Westfield Acres Housing Project in Camden, New Jersey. In 1937 she was hired to teach fresco painting at Columbia University, and a year later was commissioned by the Section of Fine Arts to paint an oil mural, The Partnership of Man and Nature for the post office in Crossville, Tennessee. Greenwood's murals were often large dramatic scenes with groups of people engaged in cultural practices or in the case of a social works project, workers in their environment. Often the murals had themes of optimism, democracy, and diversity. For example, Rehearsal for African Ballet depicts a group of African-Americans playing music, singing, and dancing together. In Blueprint for the Living, workers are laying bricks and building while a family looks upon the construction. In 1939, she married British-born Charles Fenn. In 1940, she was commissioned by the Federal Art Project to paint frescoes for the Red Hook housing project in Brooklyn. This project, titled Blueprint for Living, was meant