"The Happy End of Franz Kafka’s Amerika" is one of Martin Kippenberger's last and most notable works, created as an expansive installation. This work was inspired by a scene in Kafka's unfinished novel "Amerika," where the protagonist, Karl Rossmann, finds himself in a vast employment office. Kippenberger's interpretation of this scene translates into a large-scale installation that explores human relationships, social interactions, and power dynamics. The installation features a variety of artist-customized tables, chairs, and bleachers arranged on an Astroturf soccer field, portraying a surreal and bureaucratic landscape of employment and societal structure​ (Renaissance Society)​.

Kippenberger was known for his complex and prolific output, working across a range of media including painting, sculpture, graphic design, and installation. "The Happy End of Franz Kafka’s Amerika" stands as a testament to his fascination with the role of the artist in society and the nature of contemporary societal dynamics. Unlike some of his contemporaries who might have seen the artist as a shamanistic figure, Kippenberger positioned the artist as an existential observer, reflecting on the game of life with all its inherent randomness and determinism​ (Renaissance Society)​​ (Renaissance Society)​.

This work, alongside his Hotel Drawings series, encapsulates the breadth of Kippenberger’s career-long themes and sentiments, ranging from the whimsical to the tragic. Through "The Happy End of Franz Kafka’s Amerika," Kippenberger offers a critique of modern life and the artist’s place within it, encapsulating his vision with a blend of absurdity, hope, and melancholy, which marks a poignant reflection on human existence at the close of the 20th century​ (Renaissance Society)​.