After moving to New York in 1977, Koons became fascinated with inflatable toys found in discount stores, which he saw as embodying both life and death through their capacity to be inflated and deflated. This duality mirrored human existence, representing optimism and vitality when inflated and symbolizing death when deflated. Koons described these inflatables as anthropomorphic, noting their sexual charge and the presence of both masculine and feminine forms within the series​ (Whitney Museum of American Art)​.

Koons' inflatables, such as the "Inflatable Flower and Bunny" from 1979, were not only playful and visually striking but also carried deeper meanings about human condition and societal reflections. He was influenced by both Salvador Dalí’s Surrealism and Marcel Duchamp’s readymades, incorporating elements that resonated with the works of Donald Judd and Robert Smithson. Koons used mirrors in these pieces to multiply space and draw spectators into the artwork, creating a dialogue between the object, the viewer, and the surrounding environment​ (Guggenheim Bilbao)​.

The Inflatables series thus represents Koons’ early engagement with the readymade and his interest in challenging traditional notions of sculpture. By bringing objects from everyday life into the gallery space, Koons questioned the hierarchies of art and culture, and the roles of the artist and audience in creating meaning. This series laid the groundwork for his later work, which continued to explore these themes on a grander scale, making Koons one of the most provocative and innovative artists of his time.