Hotel. In New York City, Jones recollects learning to "present what you were saying as clearly as possible," and he developed an interest in making his images tangible. For the year Jones remained in the city, he "discovered a rich fund of imagery in sexually motivated popular illustration of the 1940s and 1950s." According to Jones, about his art of the time: Among other projects at the time, Jones "worked on a three-dimensional illusionism with obvious erotic components." When Jones' close friend Peter Phillips came to New York on a Harkness Fellowship in 1964, for two years they spent much of their time travelling together throughout the United States. Jones' style continued to develop, and his 1966 painting Perfect Match "made explicit [his] previously subdued eroticism, adopting a precise linear style as a means of emphasizing tactility." In 1967, Jones' work along with the works of artists such as Piero Gilardi and David Hockney were included in an exhibition for the wedding of Guglielmo Achille Cavellini's daughter. The following year, when the xartcollection exhibition series was created in Zürich, Switzerland, Jones and artists such as Max Bill, Getulio Alviani, and Richard Hamilton were among the first to be included in the company's "multiples." Until it dissolved a few years later, the company's philosophy was to make contemporary art available to a large public by industrially producing three-dimensional "multiples," with several artists' work included on each. Jones was a guest lecturer at the Hochschule für bildende Künste Hamburg in Germany from 1968 to 1970, and in 1969 was also a visiting professor at the University of South Florida. His 1968 set of prints, Life Class, was among his first works to incorporate elements of sculpture. Each print is made of two-halves, the bottom being a realistic pair of women's legs in tights, while the upper halves are drawn in a 1940s fetishist graphic style representing "the secret face of British male desire in the gloomy post-war years." About his further experimentation with sculpture, Jones has stated that "I spent so much time giving my figures that grabbable quality, I thought, why don't I make them in three dimensions?" Hatstand, Table and Chair (1970) While living in the London neighbourhood of Chelsea in the late 1960s, Jones began working in sculpture. His fibreglass sculpture Chair, which was completed in 1969, marked the start of a series of "life-size images of women as