[2] Both films were inspired by Aesthetic Realism, the philosophy whose founder, Eli Siegel, identified contempt, "the addition to self through the lessening of something else" as the cause of racism and all human injustice.

[4] Historian Howard Zinn said of this film, "It matches, in its visual beauty, the elegance of Siegel's words, and adds the dimension of stunning imagery to an already profound work of art.

He worked on various TV series, including The Danny Thomas Show, I Spy, The Virginian, Hollywood Squares, The Monkees and Run for Your Life.

He made motion picture trailers for films, including The Dirty Dozen, From Russia with Love, The Godfather, Parts I & II, Serpico, The Great Gatsby, Star Trek, The Sting, Papillon, Conan the Destroyer, Mommie Dearest, Heaven's Gate, Cotton Club, Scarface, Body Heat, and more.

He designed and produced two short films shown as rear-screen projections representing the dreams and nightmares of the title character in the New York City Opera's production of Alberto Ginastera's Beatrix Cenci at Lincoln Center.

Through an animated green brushstroke acting superior and disdainful of other colors and shapes, the film shows that racism is not only dishonest but ridiculous.

Original jazz music and vocals by Major Holley and tap dance rhythms by Jimmy Slyde, bring life and personality to the animated brushstrokes on the screen.

Audiences see contempt literally walking the floor, and also see it defeated, as the film concludes, by art, and by reality itself, as sameness and difference together, as one, make for the beauty of this world.

He is one of the instructors of "The Critical Inquiry: A Workshop in the Visual Arts" and presents public seminars on subjects including "The Mix-Up in Everyone about Coldness and Warmth" and "Is a Man's Cynicism Weakness or Strength?

[18] On this subject he was the keynote speaker for the Community Service Outreach Program at Boston University[19] and spoke at various institutions including Harvard, Vassar, NYU, Pace, and Dickinson College.