6 9 , ▁but ▁when ▁two ▁of ▁his ▁Bu ick ▁works ▁were ▁bought ▁by ▁an ▁influ ential ▁New ▁York ▁City ▁art ▁deal er ▁he ▁took ▁Hart igan ' s ▁advice ▁and ▁moved ▁there ▁instead . ▁▁ ▁Salt ' s ▁work ▁in ▁New ▁York ▁moved ▁away ▁from ▁the ▁earlier ▁smooth ▁consumer ist ▁port ray als ▁of ▁car ▁inter iors ▁as ▁he ▁started ▁to ▁base ▁his ▁paint ings ▁on ▁his ▁own ▁photograph s . ▁Initial ly ▁these ▁featured ▁exterior ▁sh ots ▁of ▁more ▁worn ▁vehicles , ▁but ▁after ▁his ▁discovery ▁of ▁a ▁scra py ard ▁under ▁Brook lyn ▁Bridge , ▁his ▁work ▁began ▁to ▁feature ▁images ▁of ▁cars ▁mang led ▁and ▁w reck ed ▁to ▁the ▁point ▁of ▁violence . ▁ ▁New ▁York ▁City ▁also ▁saw ▁Salt ▁develop ▁a ▁relationship ▁with ▁the ▁art ▁deal er ▁Ivan ▁Kar p , ▁who ▁was ▁on ▁the ▁point ▁of ▁opening ▁his ▁own ▁gallery ▁and ▁was ▁to ▁develop ▁a ▁port folio ▁of ▁artists ▁associated ▁with ▁the ▁emer ging ▁phot ore al ist ▁movement . ▁Salt ▁had ▁his ▁first ▁one - man ▁exhibition ▁in ▁New ▁York ▁in ▁ 1 9 6 9 ▁and ▁in ▁ 1 9 7 2 ▁featured ▁in ▁the ▁document a ▁ 5 ▁exhibition ▁in ▁K ass el , ▁Germany ▁where ▁the ▁phot ore al ist ▁school ▁first ▁gained ▁an ▁international ▁profile , ▁since ▁when ▁he ▁has ▁exhib ited ▁widely ▁world wide . ▁ ▁Salt ' s ▁technique ▁and ▁style ▁developed ▁throughout ▁the ▁early ▁sevent ies . ▁Under ▁the ▁influence ▁of ▁John ▁C lem ▁Clar ke ▁he ▁increasing