Rivera showed Abby the sketch of his proposed work on November 1932. Nelson and John also looked at the sketch, and Nelson concluded that there was nothing controversial about the planned mural. Rivera and the Rockefellers signed a contract in which they agreed that the sketch was the final plan for the mural, and that the completed work could not be different from what was on that sketch. In March 1933, Rivera traveled from Detroit to New York so he could work on the RCA Building mural. He employed artists from around the world in his six-person crew, which also included the artists Ben Shahn and Lucienne Bloch. Rivera's assistants converted his small sketch to full-size pieces of tracing paper, which would then be painted onto the wall. Also in March 1933, Webster B. Todd, one of the contractors working on the construction of Rockefeller Center, requested sketches of "Man at the Crossroads" because he was concerned about the mural's potential controversial effect. Even so, Rivera did not express worry about any potential issues, even expressing pride over his work when "The New York Times" wrote a lengthy profile on him on April 2, 1933. The Rockefellers did not show concern either, and the complex's publicist Merle Crowell took credit for the "New York Times" article.