[1] Born Armand Fernandez in Nice, France, Arman was a painter who moved from using objects for the ink or paint traces they leave (cachets, allures d'objet) to using them as the artworks themselves.

[2] After receiving his bachelor's degree in philosophy and mathematics in 1946, Arman began studying at the École Nationale des Arts Décoratifs in Nice.

[2] Early on, it was apparent that Arman's concept of the accumulation of vast quantities of similar objects was to remain a significant component of his art.

[1] Inspired by an exhibition for the German Dadaist Kurt Schwitters in 1954, Arman began working on Cachets, his first major artistic undertaking.

[3] In October 1960, Arman, Yves Klein, François Dufrêne, Raymond Hains, Martial Raysse, Daniel Spoerri, Jean Tinguely, Jacques Villeglé, and art critic and philosopher Pierre Restany founded the Nouveau Réalisme group.

Joined later by Cesar, Mimmo Rotella, Niki de Saint Phalle, and Christo, the group of young artists defined themselves as bearing in common their "new perspective approaches of reality".

Throughout the portrait-screen-test film, Arman sits in profile, looking down, appearing to be entranced in his reading, seemingly unaware of Warhol's camera, only making small gestures, rubbing his eyes, and licking the corner of his mouth.

First living at the Chelsea Hotel and later in Church street, while keeping a studio in Bowery, then in TriBeCa, Arman began work on large public sculptures.

[2] There were varied expressions of the Accumulations, including tools, watches, clocks, furniture, automobile parts, jewelry, and musical instruments in various stages of dismemberment.

[2] Of Arman's Accumulations, one of the largest is Long Term Parking,[5][6] which is on permanent display at the Château de Montcel in Jouy-en-Josas, France.