and moved permanently to Bolton Landing near Lake George in Upstate New York. At Bolton Landing, he ran his studio like a factory, stocked with large amounts of raw material. The artist would put his sculptures in what is referred to as an upper and lower field, and sometimes he would put them in rows, "as if they were farm crops". During World War II, Smith worked as a welder for the American Locomotive Company, Schenectady, NY assembling locomotives and M7 tanks. He taught at Sarah Lawrence College. After 1945 After the war, with the additional skills that he had acquired, Smith released his pent-up energy and ideas in a burst of creation between 1945 and 1946. His output soared and he went about perfecting his own, very personal symbolism. Traditionally, metal sculpture meant bronze casts, which artisans produced using a mold made by the artist. Smith, however, made his sculptures from scratch, welding together pieces of steel and other metals with his torch, in much the same way that a painter applied paint to a canvas; his sculptures are almost always unique works. Smith, who often said, "I belong with the painters", made sculptures of subjects that had never before been shown in three dimensions. He made sculptural landscapes (e.g. Hudson River Landscape), still life sculptures (e.g. Head as Still Life) and even a sculpture of a page of writing (The Letter). Perhaps his most revolutionary concept was that the only difference between painting and sculpture was the addition of a third dimension; he declared that the sculptor's "conception is as free as a that of the painter. His wealth of response is as great as his draftsmanship." Smith was awarded the prestigious Guggenheim Fellowship in 1950, which was renewed the following year. Freed from financial constraints, he made more and larger pieces, and for the first time was able to afford to make whole sculptures in stainless steel. He also began his practice of making sculptures in series, the first of which were the Agricolas of 1951–59. He steadily gained recognition, lecturing at universities and participating in symposia. He separated from Dehner in 1950, with divorce in 1952. During his time as a visiting artist at Indiana University, Bloomington, in 1955 and 1956, Smith produced the Forgings, a series of eleven industrially forged steel sculptures. To create the Forgings, he cut, plugged, flattened, pinched and bent each steel