Claes Oldenburg's "The Street" from 1960 is a significant work that showcases his exploration of everyday objects and urban environments, marking a critical departure from the abstract expressions that dominated the art scene of the 1950s. Created for an exhibition at the Judson Gallery in New York, "The Street" comprises sculptures and installations made from cardboard, burlap, and various cast-off materials like wrapping paper, scraps of newspaper, and fabric, embodying the chaos and vitality of city life. These objects, ranging from cars and signs to figures, were painted in a rough, graffiti-like style and arranged to evoke the gritty atmosphere of the urban slums of Chicago and New York, where Oldenburg had spent significant time.

This work served as a critical commentary on post-war capitalism, addressing themes such as work, economy, poverty, isolation, and the overwhelming clutter of modern life. The installation was filled with expressionistic, painted lines and marks reminiscent of graffiti, with some objects suspended from the ceiling and others scattered on the floor, mirroring the littered streets. Visitors could walk among these sculptural representations of urban elements like cars, signs, and a variety of figures, including those armed with ray guns, a recurring motif in Oldenburg's work. "The Street" not only depicted the physical environment but also touched on social issues like alcoholism and lack of communication, providing a raw, immersive experience of the city's underbelly.

Furthermore, "The Street" was the backdrop for Oldenburg's performance "Snapshots from the City," where he and his then-wife Patty Muschinski (later Patty Mucha) engaged in a performance that deepened the work's narrative. Oldenburg, dressed in paper and fabric scraps and holding a liquor bottle, along with Muschinski, dressed as a "street chick," performed a ritual dance, enhancing the nightmarish quality of the urban experience Oldenburg aimed to convey.

After completing "The Street," Oldenburg shifted his focus to "Provincetown Flags," a series inspired by the American flag and created from simple, primitive materials like driftwood. This series, along with "The Street," underscores Oldenburg's intention to present his worldview through "grand symbols," capturing the essence of different environments and their cultural symbols.

"The Street" is an early example of Oldenburg's innovative approach to sculpture and installation art, blending performance, sculpture, and environmental art to challenge and expand the boundaries of artistic expression during the 1960s. Through this work, Oldenburg laid the groundwork for his later, more iconic large-scale public sculptures, continuing to explore the relationship between everyday objects, cultural symbols, and their broader societal implications​ (Artnet Web)​​ (Guggenheim Bilbao)​.