At the urging of his friend Rosemarie "Rosebud" Feliu-Pettet, Smith also re-cut "Early Abstractions" to sync with "Meet the Beatles!". After Smith's death, artists such as John Zorn, Philip Glass or DJ Spooky provided musical backgrounds for screenings of his films: Zorn at many screenings at Anthology Film Archives (where he is composer-in-residence) as part of his Essential Cinema project, Glass at the 2004 summer benefit concert of the Film-Makers' Cooperative and DJ Spooky at several venues in 1999 for "Harry Smith: A Re-creation", an embroidered compendium of Smith's films put together by his close collaborator M. Henry Jones who tries to screen the films in the manner intended by Smith - as performances - using stroboscopic effects, multiple projections, magic lanterns, and the like. The present-day numbering system which Smith introduced some time between 1951 and 1964–65 (the year the Film-Makers' Cooperative started distributing 16 mm copies of his films) includes only films that survived up to that point. Thus this filmography is in no way a comprehensive list of all the films he has ever made, all the more as he is known to have lost, sold, traded or even wantonly destroyed some of his own works. The dating of the film presents another puzzle. Since Smith frequently worked for years on them and kept little to no documentation, the information varies considerably from one source to another. Therefore all available information has been added to the following list, inevitably resulting in a loss of clarity but having the advantage of giving the whole picture. The films are also known by variant designation, i.e. "Film No. 1", "Film # 1" or simply "# 1". Since the 1970s Smith's films have been archived and preserved at Anthology Film Archives in New York City. The Academy Film Archive preserved "Abstractions," films 1-3, and "Freedom and Famine" by Harry Smith. Smith's early efforts in the field of fine art painting were freeform abstractions intended to visually represent notes, measures, beats and riffs of the beatnik era jazz music that inspired him. There is photographic evidence of Smith's large paintings created in the 1940s; however, the works themselves were destroyed by Smith himself. He did not destroy his work on film (although he did misplace a few) and this legacy supplements the nature and design of his paintings. Smith created several later works, some of which have been serially printed in limited editions.