Over the course of a career marked by constant reinvention, Theodore Roszak created a diverse body of work that strove to respond to the dynamism of the 20th century. Roszak began his career making figurative paintings in Chicago and New York, but a trip to Europe exposed him to the Bauhaus and Constructivism, which triggered his shift to producing geometric sculptures inspired by the machine age. His work was included in the first Whitney Museum Annual and embraced by design communities. Roszak worked at László Moholy-Nagy’s WPA-funded Design Laboratory from 1938 to 1940, and he was an assistant to Norman Bel Geddes on the 1939 New York World’s Fair. Following the destruction wrought by World War II, Roszak became dismayed by the constructivist ideology. He began creating freeform, welded metal sculptures, which he showed in the 1960 Venice Biennale.