While many artists in the late 1950's and early 1960's reflected elements of the poor urban metropolis, Zox was working hard to solve the problems of  formal relationships through his early collage paintings, following in the tradition of Franz Kline and William De Kooning.


Building on this strong formal experimental foundation, in 1962 Zox introduced an extensive array of intense color and hues into his painting while retaining the illusion of collage, but now without its overt tactile effects. Based on a reordering of color and shape, Zox' innovative tonal combinations created a heightened and energized pictorial surface never seen before.