During the 1930s Miller was one of Chicago's most prominent artists. In ’31, there was a large exhibit at the Art Institute’s Summer Show of a wide variety of his work, including carved chairs, benches, glazed pottery, mosaics and terracotta columns. It was universally applauded. The art critic C.J. Bulliet wrote of it, “In fact, an old Florentine master come to life in this machine age.” Also in ’31, he completed cut lead windows for the executive offices of the Palmolive Building. For the 1933 World’s Fair, A Century of Progress, Edgar (with the help of Andrew Rebori) helped design and execute the Streets of Paris exhibit, and ran the concessions with other artists. The nudity of female performers at some of the concessions almost lead to a scandal when a petition was issued to shut down the exhibit for being “lewd and lascivious.” In court, the judge struck (down) the charge: “it is not the business of this court.” For the Animal Court project at Jane Addams Homes in 1935, Miller was hired by the federal government to design a series of stone animal sculptures ranging from 700lbs to several tons each. In the same year, his mural Love Through the Ages, made its debut. In 1936 Edgar joins Andrew Rebori to design Frank Fisher Apartments. Fisher was a Marshall Field's &amp; Company executive. It was Miller's final handmade home, and the only one he built from scratch. “Miller and Rebori broke the mold when they designed that building”, wrote artist Larry Zgoda. They called it “an opportunity to work toward a conception of human organic modern architecture that can achieve compact, livable, light house-keeping units in minimum workable space, with added factors of comfort and beauty.” This complex was also the first air-conditioned apartment house in Chicago. Also in 1935, Miller completed the plaster plaques at Punch and Judy Theatre, as well as the ornate lead cut grill of various laborers for the Trustees System Service Building.