As an early example of Dan Graham’s photographic work, “Two Housing Projects, New York, NY” could be seen as representative of what would become a long-term preoccupation with architecture and the city plan. The influence of minimal artists such as Donald Judd is readily apparent in the verticality of the image, as well as the “stacking” of the sets of balconies on both sides of the picture. Taken during the same period as the “Homes for America” photographs as well as text pieces such as Schema, both intended for magazine distribution, Graham’s initial interest in the medium of photography came partly out of a reluctance to accept the sequestering of art within the gallery system, whose “containers” had been highlighted by minimal art’s emphasis on the materiality of the art object. As part of a larger discursive practice that stretches across writing, performance, video, models and pavilions, Graham’s photographs could be seen as visual “think pieces” within a medium that offers immediate responses to elements of the built environment that are symptomatic of his line of thought, and have proven highly influential on younger generations of artists who have taken up the problem of art’s relationship to architecture.