Oldenburg pioneered soft sculpture by transforming hard industrial and everyday objects into flaccid fabric and vinyl forms, directly paralleling Wurm's cotton bus in its material subversion of rigid objects. His soft typewriters, toilets, and vehicles share the same conceptual logic of domesticating hard public forms through tactile textile materials.

Fritsch creates large scale uncanny transformations of familiar everyday objects that destabilize perception and challenge how we relate to mundane subjects, closely mirroring Wurm's reimagining of the bus as a soft plush form. Her sculptural practice consistently plays with scale, material incongruity, and the psychological effect of rendering recognizable objects in unexpected ways.

Kelley extensively used stuffed plush toys and soft textile materials to create conceptually loaded sculptures that contrast domestic softness with harder cultural or institutional subjects, directly echoing the plush bus's tension between cozy material and public transport. His work similarly exploits the psychological dissonance between infantile tactile materials and adult public world subjects.