In spite of Guggenheim's clear admiration for Bauer's work and its inclusion in major exhibitions in Europe at Galerie Der Sturm and in the United States with the Société Anonyme, Rebay still felt compelled to trumpet his praises compulsively. Her overpromotion of the artist became notorious. Rebay featured Bauer's work on the cover of all five Guggenheim Foundation catalogues and consistently opened and closed her catalogue essays about Non-Objective art with references to Bauer and his genius. Almost every advertisement for the collection pictured a sole work by Bauer. Rebay practically demanded fealty to Bauer's work from the other artists she considered for the collection, which only served to diminish Bauer's favor in the art world. Contrary to her intentions, her determination to make him world-famous by the force of her will hurt Bauer's reputation and created great resentment. Bauer's reputation would likely have withstood the test of time had she not insisted on this rarified position for his work.