War overshadowed, for a time, almost all intellectual and artistic production. In 1939 Wolfgang Paalen was the first to leave Paris for the New World as exile. After a long trip through the forests of British Columbia, he settled in Mexico and founded his influential art-magazine Dyn. In 1940 Yves Tanguy married American Surrealist painter Kay Sage. In 1941, Breton went to the United States, where he co-founded the short-lived magazine VVV with Max Ernst, Marcel Duchamp, and the American artist David Hare. However, it was the American poet, Charles Henri Ford, and his magazine View which offered Breton a channel for promoting Surrealism in the United States. The View special issue on Duchamp was crucial for the public understanding of Surrealism in America. It stressed his connections to Surrealist methods, offered interpretations of his work by Breton, as well as Breton's view that Duchamp represented the bridge between early modern movements, such as Futurism and Cubism, to Surrealism. Wolfgang Paalen left the group in 1942 due to political/philosophical differences with Breton. Though the war proved disruptive for Surrealism, the works continued. Many Surrealist artists continued to explore their vocabularies, including Magritte. Many members of the Surrealist movement continued to correspond and meet. While Dalí may have been excommunicated by Breton, he neither abandoned his themes from the 1930s, including references to the "persistence of time" in a later painting, nor did he become a depictive pompier. His classic period did not represent so sharp a break with the past as some descriptions of his work might portray, and some, such as André Thirion, argued that there were works of his after this period that continued to have some relevance for the movement. When the war reached Ireland with the Belfast Blitz in May 1941, Colin Middleton, who had experimented with surrealist themes in the 1930s, responded with a series of dark works reflecting the shocked state of the people of the city. These were exhibited at the Belfast Municipal Gallery and Museum after its restoration in 1943, following near destruction in the blitz. During the 1940s Surrealism's influence was also felt in England, America and the Netherlands where Gertrude Pape and her husband Theo van Baaren helped to popularize it in their publication The Clean Handkerchief. Mark Rothko took an interest in biomorphic figures, and in England Henry Moore, Lucian Freud, Francis Bacon and Paul Nash used or experimented