In the 1980s, David Hammons continued to evolve and challenge both the art world and societal norms with his innovative and provocative works. This period is notable for Hammons' engagement with public sculptures and installations, as well as performance art, further establishing his critical stance on racial and cultural issues. One of his most significant works from this era is "Higher Goals" (1986), a temporary public installation that stood as a poignant commentary on the aspirations and limitations faced by African Americans. The installation consisted of five telephone poles, up to 30 feet in height, topped with basketball hoops and covered in mosaics made from discarded beer bottle caps. This work reflected on the complexities of achieving "higher goals" within the confines of societal structures, using materials and imagery deeply embedded in the urban African American experience​ (The Art Story)​. Another key work from this period is "How Ya Like Me Now?" (1988), a confrontational piece installed on a Washington, D.C. street corner. The work featured a depiction of civil rights leader Jesse Jackson with white skin, blonde hair, and blue eyes, challenging viewers to confront their perceptions of race and leadership. The piece, vandalized shortly after its installation, sparked intense debate about race, representation, and the role of art in public discourse​ (The Art Story)​. Hammons' art in the 1980s also continued to employ found objects and materials that are particularly coded as "black" or reflective of the Black urban experience, such as grease, chicken bones, and hair, along with simple, inexpensive materials like rocks and empty wine bottles. His approach during this decade was deeply influenced by movements such as Dada and Arte Povera, as well as the California-based assemblage tradition. The works from this period are marked by their provocative titles and ironic humor, which Hammons used to address social and racial realities with unprecedented wit​ (Mnuchin Gallery)​​ (Hammer Museum)​. The 1980s solidified Hammons' position as a pivotal figure in contemporary art, with works that spanned public installations, performance art, and assemblage, each marked by his characteristic blend of critique, humor, and social commentary. His innovative use of materials and spaces outside traditional galleries and museums challenged conventional notions of art and its role in society, reflecting Hammons' enduring influence on the discourse around race, culture, and the politics of visibility in the art world.