one of a number of American artists to emerge in the 1980s with an aesthetic devoted to the decade's pervasive consumer culture. Koons managed to shock the art world with one audacious work after another, from displaying commercial vacuum cleaners and basketballs as his own art to making porcelain reproductions of kitsch objects to showing homemade pornography.

After graduating from the Maryland Institute of Art (B.F.A., 1976), Koons moved to New York City, where he sold memberships at the Museum of Modern Art. He later worked as a commodities broker on Wall Street while making art during off-hours. In the early 1980s he began making art full-time.

In his early years, Koons characteristically worked in series. To name only a few, a series called The New (1980–83) included commercial vacuum cleaners and floor polishers in vitrine cases; his Equilibrium series (1985) consisted of cast bronze flotation devices and basketballs suspended in fluid; and his Made in Heaven series (1990–91) was a group of erotic paintings and sculptures of Koons and his former wife. Most of the time, Koons eschewed the traditional role of the artist, appropriating his work (i.e., borrowing elements from another artwork), employing commercially fabricated objects, or using objects made by assistants in a workshop. By these means, Koons addressed the implicit hierarchies of material culture by transforming both high and low images into unblemished, glossy objects of porcelain, stainless steel, carved wood, and other materials. His work also exposed how issues of status and power are embedded in everyday objects.