David Hammons' Found Object Assemblages are a pivotal aspect of his artistic oeuvre, demonstrating his innovative approach to art-making and his deep engagement with themes of race, culture, and society. Hammons' assemblages are known for their incorporation of everyday objects, which are transformed into profound statements on the African-American experience and critiques of the art world's institutional structures.

From the early stages of his career, Hammons began working with found objects and installation art in the spirit of movements like Dada and Arte Povera, as well as the California-based assemblage art exemplified by artists such as Edward Kienholz and Noah Purifoy. He gravitated towards materials that were not only readily available but also carried cultural or racial connotations, such as grease, chicken bones, hair, rocks, and empty wine bottles. These materials, often associated with the everyday life of African-American communities, became central to Hammons' artistic language, enabling him to create works that were both visually striking and rich in symbolic meaning​ (Hammer Museum)​.

Hammons' assemblages often bear provocative and ironic titles, inviting viewers to engage with multiple layers of meaning. His work "Higher Goals," for example, is a public installation that comments on the aspirations and limitations faced by African-American youth, using basketball as a recurring theme to explore these issues. The installation consists of telephone poles topped with basketball hoops and intricately designed backboards made from thousands of beer-bottle caps, creating patterns that draw from a variety of cultural references. This work, like many others in Hammons' repertoire, employs found materials to comment on broader social and cultural themes​ (The Art Story)​.

One of the notable exhibitions that highlighted Hammons' work with found objects was "L.A. Object and David Hammons Body Prints," which showcased assemblages by Los Angeles artists from the 1960s and 70s, alongside early works by Hammons. This exhibition sought to re-examine the contributions of artists, particularly African American artists, who were often overlooked by mainstream galleries and museums. It highlighted the significant role these artists played within the assemblage movement, demonstrating how found objects could be used to create art that challenges traditional aesthetic and cultural hierarchies​ (Roberts Projects)​.

Through his found object assemblages, David Hammons continues to challenge conventional notions of art and art-making, using the detritus of urban life to explore complex themes of race, identity, and social justice. His work remains a critical part of contemporary art discourse, celebrated for its originality, political engagement, and its questioning of the boundaries between art and life.