Salvaged from billboards, telephone poles, and the supply drawers of beauty salons,
this humble urban detritus resonates with cultural meaning and a sense of place.
Reflecting on Hammons's mid-1970s sculptures made with grease, bones, hair and rubbish, curator Lowery S. Sims wrote in Art As a Verb (1988): «[He] confronts our commodity - predicated notion of the dear, the beautiful, and transforms our perception of and reception to the
humble detritus of our
urban society.»