In the 1990s, David Hammons continued to push the boundaries of art with his provocative and often politically charged works. This decade saw Hammons experimenting with new forms and materials, creating works that deeply engaged with the African-American experience and the broader cultural and social issues of the time. Hammons' works in the 1990s frequently utilized found objects and unconventional materials, embodying a spirit of Dada and Arte Povera, alongside a continuation of the California-based assemblage tradition. He was drawn to materials that were coded as "black" or reflective of the Black urban experience, such as grease, chicken bones, and hair, as well as simple, inexpensive materials like rocks and empty wine bottles. These works often carried provocative and ironic titles, encapsulating Hammons' unique blend of critique, humor, and social commentary​ (Hammer Museum)​. One of Hammons' notable public sculptures from this period, "Higher Goals" (1986), encapsulated his exploration of racially charged symbols within urban environments. Though created in the late 1980s, this work resonated throughout the following decade, featuring telephone poles topped with basketball hoops, covered in mosaics of discarded beer bottle caps. This work, and others like it, invited viewers to consider the multiple connotations of everyday materials and the aspirations versus the realities faced by African-Americans in urban settings​ (The Art Story)​. Hammons also continued to engage in performance art, a notable example being "Phat Free," originally performed in 1995 and later exhibited at the 1997 Whitney Biennial. This work was based on footage of a street performance by Hammons, highlighting his ongoing exploration of art outside conventional gallery spaces and his use of the street as both a source of inspiration and a venue for art​ (Hammer Museum)​. Through these works, Hammons maintained his status as a critical voice in the art world, using his art to provoke thought, challenge societal norms, and explore the complexities of race, identity, and culture in America. His art from the 1990s further cemented his legacy as an artist unafraid to confront difficult issues with wit, irony, and deep critical insight.