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We are chronologically guided through Hammons’ works, from performance and space-based undertakings such as “Bliz-aard Ball Sale” to his ongoing “culture sculptures” — a practice in which the artist utilizes everyday non-art material objects, largely sourced from or in reference to a Black, working-class cultural context, to build conceptually multilayered architectural works.

Chryssa’s practice connect‌ed with Minimalism’s strategies of removing the artist’s hand and using non-art materials.

Since “New Eelam” debuted, a handful of non-art, unironic flexible living brands have bloomed.

Along with collaborators including David Hammons and, most often, Maren Hassinger, they were used in performances in gallery settings as well as decidedly non-art spaces, including a Los Angeles freeway underpass.

If we had an absolute method for distinguishing art from non-art, it would not necessarily enable us to measure quality.