Not being able to realize these ideas tormented the artist: “I hope most ardently to be able to work under humane conditions. If I want to work as a sculptor and that isn’t possible, then it is torture” (August 12, 1934). He was therefore all the more hopeful about the period after his release. One central development in Uhlmann’s work can be seen in the idea of using wire for portrait sculptures: “I imagine my drawings, often and entire nights long. I have to work with iron as well, faces and figures from plates (also of copper, for example); the various plates are welded (arc welding), hair from wire?” (October 6, 1934). Almost as soon as he had been released, Uhlmann did indeed realize several portfolios of elaborate designed graphic works as wire figures and as sculptures, the majority of which have since been destroyed and are documented only by photographs.
After the war ended, Hans Uhlmann was finally able to present these works to a wide audience again and received great recognition. He was appointed Ausserordentlicher Professor (associate professor) at the art school in West Berlin already in 1950. In 1955, 1959, and 1964 he participated in documenta, and in 1964 his works were shown at the thirty-second Venice Biennale. Numerous large sculptures by the artist appear in public spaces. Prominent examples in Berlin include Untitled (1960–61) in front of the Deutsche Oper and Untitled (1963) on the roof of the Philharmonie.