In 1918, Anisfeld arrives in New York with a letter of recommendation from V. D. Nabokov, the editor of the Petrograd paper Ryech, and a collector of Anisfeld's theater sketches, addressed to Herman Bernstein, the New York publicist and transla- tor of M. Gorky and .L Andreev. An exhibition of Anisfelds's works is mounted at the Brooklyn Museum. Christian Brinton, a connoisseur of Russian art, is the organizer. The exhibition, which in the course of two years, will travel to several major American cities, sets off a lively discussion about the merits of his art. In 1923, Anisfeld joins the Scene Painters Union, along with Norman Bel Geddes. In 1926, Anisfeld becomes an American citizen. He wins a gold medal from the Philadelphia exposition for his painting Hispania, and designs costumes for two productions of Mikhail Mordkin's Russian Ballet. The Metropolitan Opera declines to accept his costumes and set designs for a production of Turandot. With Max Rabinov acting as an intermediary, Anisfeld conductsnegotiations about a possible project with the Mexico City Opera. In 1929-1957, Anisfeld teaches at the Art Institute of Chicago. In period 1934-1965, the artist teaches painting thereto asmall group of students most summers. 'This is the so-called "Boris Anisfeld School of Painting". He lives in Old Town Chicago, at the samelocation from the mid thirties almost until his death, at the Kogan Apartments, a purpose built apartment / studio complex for artists.