“Collage became for Johnson the ultimate metaphor for the way he experienced the world. Through collage, he created a seemingly unending array of juxtapositions using the material evidence of the world—what he would find in newspapers or on the street, receive through the mail, hear in a phone conversation, or come across in a motel room.”
- Donna De Salvo, 1999
As his contemporaries became famous, Johnson gradually but purposefully closed off his private life and dwelling, but still maintained connections via trips into New York City, his mail art, the telephone, and various activities in the Long Island community. Johnson, referring to himself as a “mysterious and secret organization,” eventually achieved legendary status as a “pure,” completely un-commercial artist. His underground reputation bubbled beneath the surface into the 1980s, despite his physical absence from the Manhattan art world. Johnson’s presence continued to be felt by those who admired him including Jasper Johns, James Rosenquist, Roy Lichtenstein, Andy Warhol, Christo and Jeanne-Claude, Chuck Close, Robert Rauschenberg, and a close circle of friends, admirers, and collectors. Only a handful of people were ever allowed into his house and around 1978, he ceased to exhibit or sell his work commercially. In contrast to his physical seclusion, Johnson's pre-digital network of correspondents increased exponentially. Johnson feverishly developed richer and more complex collages, which Whitney Museum curator, Donna de Salvo, described as “extending the compositional network beyond the parameters of an individual work and into the wider world."