The formative years of Favro’s practice in the 1960s were marked by a growing desire to collapse the boundaries between art and life. In contrast to Andy Warhol’s Factory led the American Pop Art movement of the period, Favro resisted the mass-produced image and object. He was determined instead to build, even replicate, his own ‘things’ from the materials at hand, repurposing the readymade and reasserting the relationship between object and maker.