David Hammons' art in the 1960s marked the beginning of his profound exploration into the themes of racial identity, social commentary, and the use of unconventional materials. During this period, Hammons was living in Los Angeles, having moved there from Springfield, Illinois, to pursue his art studies. It was a time of significant development for Hammons, both artistically and conceptually. In the late 1960s, particularly around 1968, Hammons began to study at the Otis College of Art and Design under the guidance of Charles White. White, a notable artist and educator, had a profound impact on Hammons, introducing him to the concept of artists with a focus on "black" subjects and themes, which was a revelation to Hammons at the time. This exposure to White's work and philosophy deeply influenced Hammons' own artistic direction, leading him to explore his identity and the broader African American experience through his art​ (Mnuchin Gallery)​. One of Hammons' significant contributions to art during this period was the inception of his body prints series. These works were created by applying grease or margarine to the body (often his own) and then pressing it against canvas or paper, subsequently applying black pigment to reveal the imprint. This method not only resulted in visually striking pieces but also imbued the works with rich layers of political and social commentary, particularly relating to the African American experience. The body prints series became a seminal part of Hammons' oeuvre, propelling him into prominence within the art world​ (Mnuchin Gallery)​. An interview highlighted Hammons' reflection on his moral obligation to document his social feelings graphically, underscoring the social and political underpinnings of his work from this period. His engagement with materials considered ephemeral or unconventional—such as grease, margarine, and later snow, dirt, and hair—was not merely for their physical properties but for their conceptual resonance with themes of blackness and societal perception. This engagement demonstrates Hammons' early inclination towards challenging traditional art forms and the art market itself, a theme that has persisted throughout his career​ (Mnuchin Gallery)​. Furthermore, works such as "Feed Folks," believed to be made around 1970, and "Untitled (Black Boy’s Window)" from 1968, not only cement Hammons in a significant moment in American art history but also demonstrate his alignment with contemporaneous artists like Betye Saar. These pieces, along with the body prints, serve as powerful statements on the politics of race, identity, and visibility​ (Culture Type)​. David Hammons' art from the 1960s laid the groundwork for his later works, establishing themes and methods that he would continue to explore and expand upon. Through his innovative use of materials, Hammons not only questioned the conventions of the art world but also addressed broader societal issues, particularly those affecting the African American community​ (Culture Type)​​ (Mnuchin Gallery)​.