These racial themes have been explored in other sculptural pieces. Hammons use of discarded or abject materials, including but not limited to elephant dung, chicken parts, strands of African-American hair, and bottles of cheap wine provide a crucial interpretation of American life, and art history, from the perspective of a Black person. Many critics see these objects as evocative of the desperation of the poor, Black urban class, but Hammons reportedly saw a sort of sacrosanct or ritualistic power in these materials, which is why he utilized them so extensively. For example, using hair gathered from barbershops and pasting it on top of large stones. These discarded objects have become some of David's Hammons most well known sculptures that represent the life of an African-America living in the United States. His "Untitled" piece, made over construction rebar coated with dreadlocked hair, was sold to the Whitney Museum for a hundred thousand dollars in 1992. Hammons piece "In the Hood" has evolved to be a symbol of what it is like to be young, black, and a male. The sculpture was done in 1993 and showed in the Mnuchin Gallery in New York. This simple sculpture is a cut piece of cloth nailed to the wall with a wire threaded through the lining to open the hood up evoking the idea of lynching and becomes a microcosm for what it is like being black in America. It may be simple, but it is so effective and aligns with how much of Hammons' work is done. '"In the Hood"' was recast in the cultural-limelight when images of the piece were used as profile pictures on social media for Black Lives Matter supporters follow the death of Trayvon Martin.