Hammons has expanded his repertoire into the performance medium. This medium allowed Hammons to discuss notions of public and private spaces, as well as what constitutes a valuable commodity. This was most notably seen in his 1983 piece "Bliz-aard Ball Sale". 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. This performance was captured by the Black photographer and friend, Dawoud Bey.