"If Roszak had a mentor at all, it would have had to have been Moholy-Nagy. The two met in the late 1930s, when Roszak was teaching at the Design Laboratory, a WPA sponsored school of industrial arts based in New York. Its aim was to bring Bauhaus teaching methods to that part of the country, and Moholy-Nagy was called in as a consultant. Moholy-Nagy's and Roszak's friendship dates from that moment, and correspondence between the two (May-September, 1945) indicates that Roszak sent examples of his photograms to Moholy-Nagy at the latter's request.....Theodore Roszak had an affinity for the Hungarian's radical thinking, and in some ways was seduced by it, but his own temperament could never be satisfied with such pared down activity. He was too much the virtuoso craftsman, and it is to his credit that Roszak suppressed for almost fifteen years an extraordinary capacity as a draftsman to make these works whose success was completely dependent upon the negation of touch" (Beth Urdang, Theodore Roszak: Photograms, pp. 8-9).