A key artist of the Californian assemblage movement, John Outterbridge draws influence from the street and folk art of his childhood. Asserting the need for the representation of African American artists, he began making sculpture around the time of the Watts Riots in 1965. He has always constructed his art in a piecemeal fashion, incorporating found objects such as tools, rags, salvaged junk, and metal into rustic but detailed pieces. Chains, boxes, and yokes may reference slavery and entrapment; figurines and spice bags refer to alchemy and ritual. Through his sculptures’ accumulation, Outterbridge exposes the way identity is similarly constructed of multiple fragments.