▁War ▁II , ▁the ▁tra uma ▁of ▁the ▁Hol oca ust , ▁the ▁fear ▁of ▁the ▁bomb , ▁the ▁politics ▁of ▁pre jud ice , ▁the ▁ster ility ▁of ▁industrial ization , ▁and ▁the ▁cr ass ness ▁of ▁commercial ism ." ▁Modern ist ▁j ew el ry ▁sh ops ▁and ▁stud ios ▁spr ung ▁up ▁in ▁New ▁York ▁City ▁( Fran k ▁Reb ajes , ▁Paul ▁Lob el , ▁Bill ▁T end ler , ▁Art ▁Smith , ▁Sam ▁K ram er ▁and ▁Jules ▁B ren ner ▁in ▁Green wich ▁Village ; ▁and ▁Ed ▁Wiener , ▁I ren a ▁Bry n ner ▁and ▁Henry ▁Ste ig ▁in ▁mid town ▁Manh attan ) ▁and ▁the ▁Bay ▁Area ▁on ▁the ▁West ▁Coast ▁( M arg aret ▁De ▁Pat ta , ▁Peter ▁Mac chi ar ini , ▁mer ry ▁ren k , ▁I ren a ▁Bry n ner , ▁Francis ▁S per isen ▁and ▁Bob ▁W inst on ). ▁The ▁audience ▁for ▁modern ist ▁j ew el ry ▁was ▁the ▁liberal , ▁intellectual ▁fr inge ▁of ▁the ▁middle ▁class , ▁who ▁also ▁supported ▁modern ▁art . ▁Art ▁historian ▁Bl anche ▁Brown ▁describes ▁the ▁appeal ▁of ▁this ▁work : ▁" About ▁ 1 9 4 7 ▁I ▁went ▁to ▁Ed ▁Wiener ' s ▁shop ▁and ▁bought ▁one ▁of ▁his ▁silver ▁square - sp iral ▁p ins ▁. ▁. ▁. ▁because ▁it ▁looked ▁great , ▁I ▁could ▁afford ▁it ▁and ▁it ▁identified ▁me ▁with ▁the ▁group ▁of ▁my ▁choice ▁- ▁a est het ically ▁aware , ▁intellect ually ▁incl