Jeff Koons' "The New" series, initiated in 1979, showcases his early exploration of consumerism and the commercial aesthetics that define much of his later work. This series is particularly known for its presentation of new vacuum cleaners and floor polishers, encased in Plexiglas and illuminated by fluorescent lights, mimicking the display methods of commercial products in retail environments. Through "The New," Koons comments on the societal obsession with newness and the pristine, questioning the value and lifecycle of consumer goods​ (Artland Magazine)​.

Koons' journey into "The New" began shortly after moving to New York City, where he became immersed in the dynamic East Village art scene, known for its embrace of counter-culture and rejection of mainstream art norms. This environment, alongside his day jobs, including a stint selling memberships at the Museum of Modern Art, influenced his artistic direction towards critiquing consumer culture. "The New" series emerged as a part of this critique, utilizing the aesthetics of commercial products to explore themes of novelty and obsolescence​ (The Art Story)​.

Not just a commentary on consumerism, "The New" also delved into notions of authenticity and representation, presenting everyday objects as art and challenging traditional views on artistic creation and originality. Koons' approach to art-making, particularly in this series, set the stage for his later works that continued to blur the boundaries between art, commerce, and popular culture​ (Encyclopedia Britannica)​.

"The New" thus stands as a pivotal series in Koons' oeuvre, marking the beginning of his exploration into the visual and conceptual possibilities of readymade objects, a theme that he would continue to expand upon throughout his career. This series not only garnered him significant attention but also established his position as a critical commentator on the intersections of art, culture, and commerce.