It is now a museum dedicated to her work, and attached to Kingston University. Her work as a sculptor and her wide travels reflected her interests in different ethnic types. As early as 1926 her Head of a Chinaman was used as an illustration in the magazine Le Crapouillot as a refutation of European anxieties about ‘the yellow peril’. In 1928 she showed an exhibition of heads of racial types at the *Leicester Galleries. In 1933 a subsequent exhibition was dominated by Asiatic heads and the sculpture was especially influenced by her experience of Angkor Wat. The art historian Jonathan Black points out that these were ‘non-threatening types’ who were defined by the labels devised by Western anthropologists. Gordine also made full-length figures, telling a journalist in 1930 that she was fascinated by ‘the naturally graceful movements of the Eastern peoples’. In 2005 Anthony *Caro paid tribute to her work, describing it as ‘withheld, slowed down, as is the art of *Maillol’ and that ‘when we place her work against that of the much more successful academic sculptors of the time it is a million miles better’. Further Reading Ben Uri Art Gallery, Embracing the Exotic: Jacob Epstein & Dora Gordine (2006)