César's work established a bridge between industrial processes and art. In 1960, fascinated with the compression machines in the factories that made his sculptures, he began using them to make 'compressions' of his own. This assemblage consists of several forms - parts of Austins and Renaults - that have been compressed and opened out again. The title was an act of revenge against Patrick Waldberg, a leading French art critic who wrote a stinging attack on César.
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