Mexican art renaissance that had been fostered in the city's galleries. Her first showing consisted of 30 paintings and 30 drawings, which The Art Digest called "a critical as well as a popular triumph." Albro was one of the few women who were part of the Works Progress Administration's Federal Art Project, a program initiated under President Franklin Roosevelt's New Deal. Due to the high rate of joblessness during the Great Depression, these art programs were required to employ female artists, making this period the first time in history in which women were hired without discrimination in the United States. Her first WPA commission was for one of the murals at Coit Tower. According to Albro, she traded the wall she had originally picked with an adjacent one selected by Victor Arnautoff at his request. Throughout the 1930s, Albro executed many commissions under the federal program, including a mosaic at San Francisco State Teacher's College in 1936, over the entrance to Woods Hall at the southeast corner of Haight and Buchanan. None of the artists working on the mosaic had ever created art in that medium, and the WPA had to hire an Italian mosaic setter that taught them how to break marble to create mosaic pieces and set them. The mosaic is no longer visible, having either been stored and then lost, or destroyed during removal when the campus was moved and the Teacher's College building was renamed to Anderson Hall at the University of California Extension in San Francisco. Outside of artwork commissioned for public buildings, Albro painted frescoes for many private homes, including the entrance and courtyard of the Seldon Williams House in Berkeley, California, designed by Julia Morgan and completed in 1928. A work of four nudes that Albro painted at the Ebell Women's Club in Los Angeles, titled Portly Roman Sybils, offended the organization's members, and was destroyed in 1935. That year, several prominent art critics, including the young Arthur Miller, rose to her defense. "Personally I think they are beautiful decorations which deserve to live and which will be missed," Miller wrote. The San Francisco News of May 25, 1935, printed the following: Style Albro's artistic style is described as "clean, bright and clear with the strong rounded forms of this era, often depicting the women of Mexico, in particular those of the Tehuantepec region in Oaxaca." Her mural titled California at San Francisco's