In "Untitled", 1957, a hybrid black structure—part organic, part machine gear—represented as a “painted sculpture” dominates the pistachio-green background of the composition. A few spots of a white-yellow hue were applied to the black structure to bring a sense of depth to the flatness of the composition. The organic simplicity of Gramcko’s structure to what critic Lucy Lippard described as a new kind of funereal monument different from the nineteenth-century academic sculpture in which its “repeated forms are intentionally inactive.”