Eklund notes that when Struth arrived in New York in 1978, he continued his practice of making views of city streets, '...locking his pictures into a perspective that seems anonymous, as if the pictures arose ready-made from the camera's characteristic capacity to make clear, detailed records of the world in single-point perspective...absent of anecdote and incident, the empty streets demand potential performers to imaginatively replay Struth's negotiation of the space.' (Thomas Struth, pp.160-61)