David Hammons performing ‘Bliz-aard Ball Sale’ (1983), Cooper Square, New York City.

Hammons situates himself alongside street vendors in downtown Manhattan in order to sell snowballs which are priced according to size. This act serves both as a parody on commodity exchange and a commentary on the capitalistic nature of art fostered by art galleries. Furthermore, it puts a satirical premium on ‘whiteness’, ridiculing the superficial luxury of racial classification as well as critiquing the hard social realities of street vending experienced by those who have been discriminated against in terms of race or class.

David Hammons performing ‘Bliz-aard Ball Sale’ (1983), Cooper Square, New York City.

Hammons situates himself alongside street vendors in downtown Manhattan in order to sell snowballs which are priced according to size. This act serves both as a parody on commodity exchange and a commentary on the capitalistic nature of art fostered by art galleries. Furthermore, it puts a satirical premium on ‘whiteness’, ridiculing the superficial luxury of racial classification as well as critiquing the hard social realities of street vending experienced by those who have been discriminated against in terms of race or class.

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