Rashid Johnson's artistic journey in the late 1990s marked the inception of a career that would grow to significantly influence contemporary art, especially in the realms of identity, cultural history, and materiality. Initially beginning his career as a photographer in Chicago, Johnson created poignant portraits of Black male acquaintances, capturing their strength and vulnerability through the deep brown hues of his prints. These early works laid the groundwork for Johnson's expansive practice, which would later include wall reliefs, sculptural environments, and a diverse array of cultural artifacts, such as novels by Richard Wright and records by Sun Ra, alongside masses of shea butter and black soap. These materials are deeply revered within Diasporic African communities for their connections to homeopathic traditions​ (The Metropolitan Museum of Art)​. In a notable early exhibition, "The Production of Escapism: A Solo Project by Rashid Johnson" at the Indianapolis Museum of Contemporary Art, Johnson explored themes of escapism, using art and fantasy as means to study distraction and relief from reality. This exhibition underscored Johnson's interest in blending humor with the absurd, a characteristic approach that would continue to permeate his work​ (Wikipedia)​. Johnson's integration of shelves as post-minimalist sculptural objects in his work also marks a significant phase in his early career. These shelves served dual functions: as distinct forms in themselves and as physical supports for an assemblage of disparate objects, ranging from books and plants to albums and incense. Reflecting on the Afro-centric cultural backdrop of the late ’70s, when Johnson was born, these shelves embody a balance between order and chaos, serving as both paintings and assemblages. The materials used, particularly the combination of black soap and wax, link back to ancient encaustic techniques while also invoking the expressionistic gestures that have become hallmarks of Johnson's style. This phase in Johnson's career reflects a deep engagement with the material and cultural heritage of black America, wrapped within the broader context of art history. Johnson's work, much like David Hammons's, delves into the material and cultural habits of his environment, creating art objects that resonate with historical and contemporary narratives of African American life and identity​ (Flash Art)​. Johnson's art in the 1990s set the stage for a career that would continue to evolve, marked by a profound engagement with themes of identity, history, and materiality. Through his thoughtful selection and use of materials, Johnson crafts works that are deeply personal yet broadly relevant, reflecting on his own experiences while engaging with wider cultural and historical dialogues.