In Search of a Jewish Audience: New York’s Guild Art Gallery, 1935–1937

[...]the Kraushaar Galleries presented the works of Jewish artists in just one of its twenty-one solo exhibitions during the same period.\n Yet many Jewish artists and the people who bought their art refused to "tear up their Jewish roots," particularly in the context of the disturbing world events alluded to by Walinska in her letters.63 Making, selling, buying and collecting art provided a means to address the tensions between American life and traditional Jewishness which the dual imperatives of holding onto personal religious identity as a Jew and being modern in America (which at that time required one to erase external signs of ethnicity) gave rise to. [...]the gallery and its clients, the Menorah Journal, and "The Ten" engaged in the reciprocal framing of Jewishness and modernity-with Jewishness signified principally by spatial, institutional, or social framing.