Chihuly fashioned several other neon and glass pieces from commercial neon signs and plain tubing, The neon was stacked and turned into assemblages and electrified, such as the now lost Case of Beer, made by Chihuly alone, who chose the wooden crate for its appropriate label, "handle with care," and the way it encased the three layers of stacked, commercial neon signs that spelled "BEER" in bright red.

Other Chihuly solo and collaborative works of this period used high-frequency, high-voltage coil transformers that illuminated the glass by radio transmission and enabled the viewer to alter the color by touch, as in the "performance" version of Glass Forest. Actively involved with high-tech, kinetic art of the period, Chihuly and Carpenter relied upon the technical creativity of Bob Reed and Richmond Kent.

With the exception of a few pieces retained by Reed and Kent, much of Chihuly's work of this period was destroyed when his Providence studio burned down in the summer of 1973, while he was teaching at the Pilchuck Glass School. Beyond the tragedy of this fire, Chihuly's installation art was, like so much of his site work of the late 1960s and 1970s, made to be ephemeral-fragile, experimental, and noncommercial. Most of Chihuly's and Carpenter's work of the early 1970s can now be seen only in photographs, which Chihuly actually prefers. A measure of Chihuly's indifference to the preservation of his work of this period is that he did not return to Providence immediately after the fire to salvage his work. Several friends did though, and remnants of this period's work can be found in the homes of friends and glass collectors in the Providence area.