In the late 1970s, Morton Feldman began writing entire compositions based on repetitive motives or patterns. This stylistic trend coincided with his growing interest in the nomadic carpets of pre-twentieth century Anatolia. This paper analyzes two lengthy chamber compositions by Feldman which feature highly repetitive motives: Patterns in a Chromatic Field (1981) and Crippled Symmetry (1983). The focus of the analysis is to identify the small-scale variation techniques which the patterns are subjected to as they repeat within compartmentalized sections of the score. Musical examples show the techniques in isolation and in combination with each other. The small-scale variants lend a high level of individuality to Feldman's musical patterns which is reminiscent of the hand-crafted designs of nomadic carpets. The rhythm, pitch-class and registral variants in the musical patterns become analogous to the form and color variants of the carpet patterns. The analysis also addresses Feldman's recycling of patterns within the compositions and how he applies additional variation techniques to returning patterns. Finally, the paper argues that Feldman's late-period "carpet" pieces manifest many of the same aesthetic values that the composer had developed in New York City during the 1950s and 1960s when he associated with John Cage and the Abstract Expressionist artists.