Steinbach similarly elevates everyday consumer and utilitarian objects by repositioning them as sculptural compositions, using minimal intervention to question the boundary between functional item and art object. His shelf arrangements of found commercial goods share Faldbakken's interest in how context and framing transform vernacular objects into aesthetic statements.

Fischer frequently incorporates industrial and found materials into assemblage sculptures that deliberately blur distinctions between mundane functionality and intentional artistic form, mirroring Faldbakken's approach. His work shares the same conceptually driven use of everyday objects reconfigured to challenge assumptions about what constitutes sculpture.

Cruzvillegas builds assemblage sculptures from found utilitarian and industrial materials, binding and strapping components together in ways that closely echo Faldbakken's combination of street furniture with metal bands and fastening hardware. Both artists share a practice of transforming overlooked functional objects into minimalist sculptural propositions through deliberate reconfiguration.