The works, which began emerging from the artist's New York studio around 1959, were made of canvas and other fabrics, stretched over steel frames and stitched with wire, sometimes
incorporating airplane parts, war - surplus materials, laundry — conveyor belts, industrial - saw teeth, and other incongruous objects.
Along with metal that does reflect light and color, they
incorporate for contrast gently curving sheets of carbon fiber, less like
airplane parts than oversized bicycle sheets.