with text, Homes for America (1966–67), which counterpoints the monotonous and alienating effect of 1960's housing developments with their supposed desirability and the physical-geometry of a printed article. Graham's other works include Side Effects/Common Drugs (1966) and Detumescence (1966). After this Graham broadened his conceptual practice with sculpture, performance, film, video including perhaps his best known works Rock My Religion (1984) and Performer/Audience/Mirror (1975). His installations, such as Public Space/Two Audiences (1976) or Yesterday/Today (1975), further inspired his working on indoor and outdoor pavilions. His many conceptual pavilions, including Two Way Mirror with Hedge Labyrinth (1989) and Two Way Mirror and Open Wood Screen Triangular Pavilion (1990), increased his popularity as an artist. Graham's first sculpture building project was Café Bravo at Kunst-Werke Institute for Contemporary Art in Berlin. After a lecture at the Berlin University of the Arts, Klaus Biesenbach invited Graham to conceive the pavilion for Kunst-Werke, which Biesenbach founded, and he assisted Graham in the realization of the project. Influences In Sarah Lehrer-Graiwer's publication Pep Talk in 2009, Graham gave "Artists' and Architects' Work That Influenced Me" (in alphabetical order): Michael Asher, Larry Bell, Flavin, Itsuko Hasegawa, LeWitt, Roy Lichtenstein, Robert Mangold, Bruce Nauman, Claes Oldenburg, Kazuo Shinohara, Michael Snow, Mies van der Rohe, and Robert Venturi. Writer Brian Wallis said that Graham's works “displayed a profound faith in the idea of the present, [he] sought to comprehend post-war American culture through imaginative new forms of analytical investigation, facto-graphic reportage, and quasi-scientific mappings of space/time relationships.” Graham's work was influenced by the social change of the Civil Rights Movement, The Vietnam War, the Women's liberation movement as well as many other cultural changes. These prolific events and changes in history affected the conceptual art and minimalist movements. Graham exhibited a predominantly minimalist aesthetic in his earlier photographs and prints. His prints of numeric sequences, words, graphs, and graphics strongly reflect his minimalist qualities. His later works became very conceptual, and examine the relationships between interior space, exterior space, and the perception of the viewer when anticipated boundaries are changed. Photography Soon after he left the John Daniels Gallery, Graham started a series of photographs which began in the nineteen sixties and continued into the early twenty first century. Of his magazine work, Graham said, These photographs question the relationship between public and private architecture and the ways in which each space affects behavior. Some of his first