The use of found materials led Mallary, after 1961, away from his relief panels in the direction of wall sculpture. From there he moved on to “leaning” sculpture in which the assemblage construction was mounted on “legs” and supported vertically by leaning against the wall. Given this almost unavoidable anthropomorphic reference, the best course then seemed to deal explicitly with the human figure as in Sycorax. And, having once become re-involved with the figure, it was but a short step from there to the well-known tuxedo series in which three, five, or as many as ten tuxedoes might be impregnated with the plastic, then stitched and clamped together to shape a hollow, metaphorical “skin” construct of the human figure.