In 1962 she left Martha Jackson Gallery for a brief stint at the Sidney Janis Gallery . After an unsuccessful first show in which none of her work sold , Nevelson had a falling out with gallery owner Janis over sums he advanced her and was unable to recoup . Nevelson and Janis entered into a contentious legal battle that left Nevelson broke , depressed , and at risk of becoming homeless . However , at this time Nevelson was offered a funded , six-week artist fellowship at Tamarind Lithography Workshop ( now Tamarind Institute ) in Los Angeles , which allowed her to escape the drama of New York City . She explained , " I would n't ordinarily have gone . I did n't care so much about the idea of prints at that time but I desperately needed to get out of town and all of my expenses were paid . " At Tamarind , Nevelson made twenty-six lithographs and became the most productive artist to complete the fellowship up until that time . The lithographs she created were some of her most creative graphic work , using unconventional materials like cheese cloth , lace , and textiles on the lithographic stone to create interesting textural effects . With fresh creative inspiration and replenished funds , Nevelson returned to New York in better personal and professional circumstances . She joined Pace Gallery in the fall of 1963 , where she had shows regularly until the end of her career . In 1967 the Whitney Museum hosted the first retrospective of Nevelson 's work , showing over one hundred pieces , including drawings from the 1930s and contemporary sculptures . In 1964 she created two works : '' Homage to 6,000,000 I '' and '' Homage to 6,000,000 II '' as a tribute to victims of The Holocaust . Nevelson hired several assistants over the years : Teddy Haseltine , Tom Kendall , and Diana MacKown , who helped in the studio and handled daily affairs . By this time , Nevelson had solidified commercial and critical success
The Holocaust
The Holocaust
Louise Nevelson