Far more than just another wrinkle on assemblage Shortstop and subsequent works completely reinvented modeling, casting, and volume, altering Marcel Duchamp's notion of the readymade and using the car as both medium and tool.

[12] In 1962 Donald Judd wrote, "The only reason Chamberlain is not the best American sculptor under forty is the incommensurability of 'the best' which makes it arbitrary to say so.

"[13] By the end of the 1960s, Chamberlain had replaced his signature materials initially with galvanized steel, then with mineral-coated Plexiglas, and finally with aluminum foil.

[14][15] After returning in the mid-1970s to metal as his primary material, Chamberlain limited himself to specific parts of the automobile (fenders, bumpers, or the chassis, for example).

[10] In the early 1980s, Chamberlain moved to Sarasota, Florida, where an 18,000-square-foot warehouse studio on Cocoanut Avenue enabled him to work on a much grander scale than he previously had.

[7] Many of the subsequent works Chamberlain made in Florida revert to more volumetric, compact configurations, often aligned on a vertical axis.

As seen in the so-called Giraffe series (circa 1982–83), for example, linear patterns cavort over multicolored surfaces—the results of sandblasting the metal, removing the paint, and exposing the raw surface beneath.

[21] His works have since been exhibited around the world and have been included in the São Paulo Art Biennial (1961, 1994), the Whitney Biennial (1973, 1987) and Documenta, Kassel, Germany (1982) and he has had over 100 solo shows, including Dia Art Foundation (1983); Staatliche Kunsthalle Baden-Baden and Staatliche Kunstsammlungen Dresden (1991); Stedelijk Museum, Amsterdam (1996); and Menil Collection, Houston (2009).

The exhibition examined the artist's development over his sixty-year career, exploring the shifts in scale, materials, and techniques informed by the assemblage process that was central to his working method.

[30] In her memoirs, Warhol superstar Ultra Violet claims that during the 1960s she and Chamberlain shared a romantic relationship which ended when first he crashed her car, then when told that she had become pregnant by him he responded, “That’s your problem”.