By 1927, Kertész had been in Paris almost two years, and his work had evolved from a somewhat romantic style to one which reflected more of the modern influences that surrounded him. He started noticing the geometric patterns in the objects around him, helping to redefine his perception of the ordinary. He made the acquaintance of Piet Mondrian early in 1926 and later met Fernand Léger, both of whom had a profound influence on his new found sense of simplified and abstract vision. In Of Paris and New York, Sandra Phillips states of Telephone Wires, "Here, the space has been flattened, the forms hardened, and the composition ostensibly related to the abstractions of his friends. Other views of the river, boulevards, and parks also made at this time incorporate steel railings and chains into geometric patterns, while remaining delicate, essentially personal interpretations of Paris." The fresh vantage point he employed in this picture resulted in an abstract architectonic study which he later referred to as one of his most modern.