el ry - making ▁techniques , ▁believed ▁to ▁strength en ▁hand ▁and ▁arm ▁mus cles ▁and ▁fost er ▁eye - hand ▁coord ination , ▁played ▁a ▁role ▁in ▁physical ▁ther apy ▁programs ▁for ▁veter ans ▁of ▁World ▁War ▁II . ▁The ▁War ▁V eter ans ' ▁Art ▁Center ▁at ▁the ▁Museum ▁of ▁Modern ▁Art , ▁led ▁by ▁Victor ▁D ' Am ico , ▁the ▁School ▁for ▁American ▁C raft s man , ▁and ▁the ▁work sh ops ▁run ▁by ▁Marg ret ▁Cra ver ▁in ▁New ▁York ▁City , ▁addressed ▁the ▁needs ▁of ▁returning ▁American ▁serv ic emen , ▁while ▁the ▁G I ▁Bill ▁of ▁Rights ▁offered ▁free ▁college ▁tu ition ▁for ▁veter ans , ▁many ▁of ▁whom ▁studied ▁craft . ▁As ▁Kelly ▁L ' E cu yer ▁suggests , ▁" In ▁addition ▁to ▁individual ▁cre ativity , ▁the ▁pro l ifer ation ▁of ▁craft - based ▁education ▁and ▁ther apy ▁for ▁soldiers ▁and ▁veter ans ▁in ▁the ▁United ▁States ▁during ▁and ▁after ▁the ▁war ▁provided ▁a ▁stim ulus ▁for ▁all ▁studio ▁craft s , ▁especially ▁j ew el ry ▁and ▁met als m ith ing . ▁Public ▁and ▁private ▁resources ▁devoted ▁to ▁veter ans ' ▁craft ▁programs ▁plant ed ▁the ▁se eds ▁for ▁longer - last ing ▁educational ▁structures ▁and ▁engine ered ▁broad ▁interest ▁in ▁craft ▁as ▁a ▁cre ative , ▁ful fill ing ▁l ifest yle ." ▁ ▁By ▁the ▁early ▁ 1 9 6 0 s , ▁gradu ates ▁of ▁these ▁programs ▁were ▁not ▁only ▁challeng ing ▁the ▁conventional ▁ideas ▁of