In the late 2000s, Hammons and Hasegawa created a striking installation involving full-length fur coats mounted on antique dress forms. This selection included two minks, a fox, a sable, a wolf, and a chinchilla. The coats were deliberately altered—burned, stained, and painted on the back, transforming these symbols of luxury and status into provocative statements on politics, consumerism, animism, animal rights, and more. The act of defacing these coats serves as a commentary on the value placed on material wealth and the superficial judgments of societal status, invoking a critical view of consumerism's excesses and the ethical implications of fur as a luxury item. The choice of venue for this installation, L & M Arts in upscale Manhattan, added another layer of irony, emphasizing the contrast between the affluent lifestyle associated with such areas and the critical message behind the artwork (Wikipedia) (Mnuchin Gallery).
David Hammons' body of work often employs found materials to create pieces that are deeply reflective of the African-American experience. He is known for incorporating objects that might be seen as discardable or mundane, such as elephant dung, chicken parts, and bottles of cheap wine, imbuing them with a new significance that challenges viewers to reconsider their preconceptions about art, value, and cultural identity. His use of these materials is not just a commentary on race and class but is imbued with a sense of ritualistic power and a profound commentary on the resilience and creativity of the Black community in America (Wikipedia).
Moreover, Hammons' work extends beyond the critique of racial and social issues to touch on the universal human experience, often with a sharp wit and a deep sense of symbolism. His diverse oeuvre, including the famous "Higher Goals" and the more recent "Day's End," demonstrates a consistent engagement with the themes of aspiration, memory, and the complex dynamics of visibility and invisibility within the art world and society at large (Wikipedia) (Mnuchin Gallery).
Hammons’ ability to navigate between the realms of the elite art world and the everyday experiences of the African-American community, all while maintaining a critical, often satirical edge, marks him as a pivotal figure in contemporary art. His work encourages a dialogue on the intersections of race, class, and identity, challenging both the art establishment and the viewers to rethink their perceptions and biases.