Robert Rauschenberg's "Gluts" series, produced between 1986 and 1989 and then again from 1991 to 1994, represents one of the artist's later forays into sculpture, utilizing found metal objects to critique and reflect upon themes of excess, consumption, and the ephemeral nature of economic prosperity. The series was born out of Rauschenberg's observations of economic distress and environmental degradation, particularly the oil glut crisis in Texas during the mid-1980s that led to a period of economic downturn in the region. This backdrop provided the impetus for Rauschenberg to collect and transform scrap metal—including gas station signs, automotive parts, and industrial refuse—into both wall reliefs and freestanding assemblages, embodying his continuous exploration of incorporating everyday objects into art​ (Rauschenberg Foundation)​.

The "Gluts" series is marked by its commentary on greed and overabundance, themes Rauschenberg directly associated with the economic conditions of the time. He articulated this connection by observing, "It's a time of glut. Greed is rampant," underscoring the series' critique of consumerist excess and the unsustainable exploitation of resources. Through assembling materials such as traffic signs, exhaust pipes, radiator grilles, and blinds, Rauschenberg not only highlighted the aesthetic possibilities of these discarded items but also imbued them with new life and significance. This process turned the components into complete units where the whole was more than the sum of its parts, revealing the monumentality of his assemblages and the dynamic interplay between the sculptural and the pictorial that characterized his work​ (Guggenheim Visita)​.

The "Gluts" series, described as Rauschenberg's last major sculptural endeavor, showcases the artist's enduring commitment to blending artistic innovation with social and environmental concerns. By repurposing industrial detritus, Rauschenberg invites reflection on the cycles of boom and bust that define economic landscapes, while also critiquing the environmental impact of industrial waste and consumer culture. His work in this series, consistent with his broader oeuvre, exemplifies a multidisciplinary approach that defies easy categorization, instead offering a complex, layered engagement with the material, cultural, and economic fabric of contemporary life.