In the 1970s, New York artist Ted Stamm looked to his lived environment for inspiration. Stamm incorporated into his work a triangular form that he observed around Wooster Street in downtown Manhattan where he lived and worked from 1970-1984, as well as the lowrider vehicles that populated the area. Stamm's two-part painting LMX-2 (Low Wooster) (1979-90) suggests the forward movement of a car and is installed low to the ground to emulate the urban environment in which it was observed. The smaller, shaped triangular canvas aligns with another of standard horizontal format, while an allusion to an arrowhead extends across both. Stamm combined a formalist experimentation similar to other artists working in downtown New York, including Ellsworth Kelly and Robert Rauschenberg, with the minimal, monochromatic palettes of painters like Robert Ryman and Brice Marden.