Jasper Johns, now Rauschenberg's partner, had the loft below Rauschenberg's. "Jasper's loft was always immaculate, white, nothing out of place," recounted their mutual friend Rachel Rosenthal. "Bob's was full of objects, multicolored, chaotic and jumbled." Moving upstairs and down, they looked at and discussed each other's work every day, serving as forceful critics for one another and pushing each other to new places. Rauschenberg began his iconic Combines, like Bed (1954), Satellite (1955), and Monogram (1955–59), at the Pearl Street space. It was Johns who first described the Combines as "painting playing the game of sculpture."