Stella’s most famous work is his 5-panel Voice of the City of New York Interpreted. The panel titled The Bridge (Brooklyn Bridge) appears above. Stella’s reinterpretation and expansion of the religious triptych simply expands on the basic tenets of Futurism, as stated by F.T. Marinetti in the The Futurist Manifesto:
We will sing of the great crowds agitated by work, pleasure and revolt; the multi-colored and polyphonic surf of revolutions in modern capitals: the nocturnal vibration of the arsenals and the workshops beneath their violent electric moons: the gluttonous railway stations devouring smoking serpents; factories suspended from the clouds by the thread of their smoke; bridges with the leap of gymnasts flung across the diabolic cutlery of sunny rivers: adventurous steamers sniffing the horizon; great-breasted locomotives, puffing on the rails like enormous steel horses with long tubes for bridle, and the gliding flight of aeroplanes whose propeller sounds like the flapping of a flag and the applause of enthusiastic crowds.