A collaboration between Rauschenberg and composer John Cage, this print redefined the medium for the 20th century in a fatalistically Neo-Dada fashion. Rauschenberg glued together 20 sheets of typewriter paper into a continuous scroll, and laid them out on an empty Fulton Street road in front of his studio. He poured black house paint in a pool in front of the rear tire of his Model A Ford, and directed Cage to drive over the 23 feet of paper, with the front tire embossing the scroll and the rear imprinting the paper with a continuous black tire tread mark. While this work is categorized as a print, it is the artifact from a collaborative performance that explored process printing, the artist's mark, and serial imagery. While it was his idea and direction that initiated the creation of the print, Cage acted as the printer and press. In the creation of this work, Rauschenberg effectively shifted the term "action painting" from the Abstract Expressionist active creation of the artist's mark with their own hands to the action of driving a car, part of his continued interest in the obfuscation of traditional notions of the artist and work of art.