A revised version of this exhibition re-titled West Coast Hard Edge was presented in London at the Institute of Contemporary Arts and then in Belfast, Northern Ireland at Queens Court.

Though his sketchbooks from those early years reveal a firm foundation in Old Master-style draftsmanship, Feitelson rethought his approach to drawing after viewing the legendary International Exhibition of Modern Art in 1913 at the 69th Regiment Armory.

[4] While in Paris, he also made numerous trips to Corsica, and sketches from his time there formed the basis for later works featuring peasants as subjects.

[6][7] According to Lundeberg, who authored the pair's mission statement in response to the European surrealist movement, Feitelson “wanted the utilization of association, the unconscious, to make a rational use of these subjective elements.

The name he had for this idea at first was ‘New Classicism ‘ or ‘Subjective Classicism.’[8] As Jules Langsner suggested in his catalogue for the 1935 Post Surrealists and Other Moderns show at the Stanley Rose Gallery in Los Angeles, post-surrealism “affirms all that Surrealism negates.”[9] During this period, Feitelson was also assigned, with Stanton Macdonald-Wright, to oversee the WPA murals project on the West Coast.

Though few examples of Feitelson's design are extant, the large-scale narrative requirements of the mural format are in evidence in some of his larger post-surrealist works.

Flight Over New York at Twilight and Eternal Recurrence are two powerful examples of Feitelson's technical acumen as well as of his dynamic visual style.