From the time of his arrival in New York in 1942, Cage was engaged in a
deep intellectual exchange with artists in this circle —
particularly Robert Motherwell (1915 — 1991)-- and participated in
discussions and presented lectures at the Subjects of the Artist school and later at the Club.22 However, by the time Cage and Rauschenberg began work on Automobile Tire Print, Cage had articulated a sharp turn away from the ethos of the Club, specifically rejecting what Caroline A. Jones has described as the model of «the artist as a masculine solitary whose staunchly heterosexual libido drove his brush.»