Although Chop Suey features four figures within a restaurant, Hopper still manages to portray a sense of isolation and eerie stillness within his painting.
The two women facing each other are not conversing, the male in the background has no interest in his companion who also shares an expressionless face.
It has been suggested that the woman is facing her doppelganger as the two women are similarly dressed in the cloche hats, fashionable in the twenties era.
This is true in some respects because Hopper's wife Josephine was the model all for the female figures but we are given no further clues to the relationships between the figures at the tables.
Part of the restaurant's name is visible in the signage that appears on the right hand side of the painting. Its positioning indicates that it was a second floor restaurant.
At that time, Chop Suey was the name given to many of the upstairs restaurants serving Chinese food. These restaurants were becoming very popular for the new city workers, workers that now included women.
The fact that the two women are dining together depicts the societal changes and changing roles for women. Hopper and his wife Jo, enjoyed dining in such restaurants.
Although Hopper was not a fan of abstract art, he puts it to some effect in this painting. Geometric shapes convey the shafts of light coming from the vibrant city outside the restaurant.
As the population shifted towards busy city-life, Hopper appears to capture a moment in time and conveys an element of detachment in a social setting.
Hopper's art work is striking, perplexing and Chop Suey is one of his most stunning works.