David Hammons' body prints, created between the late 1960s and early 1970s, stand as a pioneering form of expression that combined performance, sculpture, and printmaking. During this period, Hammons explored the use of his own body, and occasionally others', as both a tool and a medium, pressing greased parts against paper surfaces and then dusting these impressions with powdered pigments and charcoal to create detailed, life-sized images. These works, deeply personal and politically charged, capture textures of skin and hair, embedding the personal identity and the social conditions of African Americans directly into the art​ (The Drawing Center)​.

Hammons' body prints emerged from a rich cultural milieu. Moving to Los Angeles in the early 1960s and studying at Otis Art Institute under Charles White, Hammons was deeply influenced by a younger generation of Black avant-garde artists and the burgeoning Black Arts Movement. His technique was partly inspired by Yves Klein's Anthropometries, where the body was used as a paintbrush, but unlike Klein's use of female bodies in performative acts for an audience, Hammons' prints carried a deeper, introspective critique of racial identity and the social conditions faced by African Americans. Additionally, his work was informed by the assemblage and collage practices of Los Angeles artists like Noah Purifoy and Betye Saar, as well as Marcel Duchamp's conceptual readymades and puns, adding layers of meaning and critique to his pieces​ (The Drawing Center)​.

The content of Hammons' body prints often intertwined with political and social commentary, incorporating symbols such as the American flag, maps, and other culturally loaded objects, creating puns and titles that served as biting critiques of racial oppression and the struggle for justice. These works were not just artistic expressions but also acts of social justice, embedding the Black experience into the fabric of contemporary art. This period was a crucial inflection point for racial tension and justice in the United States, and Hammons' choice to use his body as a medium was a powerful statement on the joys and injustices of living as a Black man in mid-century America​ (The Drawing Center)​​ (GothamToGo)​.

Despite his critical acclaim and influence, Hammons has maintained a deliberate distance from the art world establishment, exhibiting sparingly and preserving a sense of mystique around his persona and work. His body prints, alongside other significant works like the African-American Flag (1990), showcase Hammons' unique ability to weave together profound cultural critique with innovative artistic methods, leaving a lasting impact on contemporary art​ (Ocula Art)​.

Hammons’ body prints laid the groundwork for a career that would continue to challenge, provoke, and inspire. By using his body to confront and explore the complexities of identity, race, and society, Hammons not only redefined the possibilities of printmaking but also cemented his place as a pivotal figure in the history of contemporary art.