Koons similarly elevates mundane consumer objects like vacuum cleaners and basketballs onto pristine display surfaces, creating sculpture that critiques and celebrates commodity culture with the same deadpan presentation Steinbach employs in arranging toilet brushes and beverage cans.

A fellow Neo-Geo artist who worked directly alongside Steinbach, Bickerton incorporated branded consumer logos and commercial products into wall mounted assemblages that interrogate the same systems of commodity fetishism and late capitalist visual culture seen in this work.

McCollum arranges serialized surrogate objects in repetitive grid like formations on shelves and surfaces, sharing Steinbach's interest in using display and accumulation strategies to comment on mass production, consumer desire, and the cultural value assigned to everyday things.