However, Hammons artwork is not limited to dealing with the theme of race. He also tackles hierarchical class structure by reflecting it in the dynamic between young black men and basketball. Hammons created a series of larger-than-life basketball hoops, meticulously decorated with bottle caps, evoking Islamic mosaic and design. An example of these 'altars' is "High Falutin"' or "Basketball Chandelier", the latter placing a basketball hoop at its standard height, but rendered unusable by his use of materials - cut glass beads and ornamental sconces."." However, where this theme is most prominently demonstrated is in his 1986 piece "Higher Goals". Hammons places an ordinary basketball hoop, net, and backboard on a three-story high pole - commenting on the almost impossible aspirations of sports stardom as a way out of the ghetto. Hammons is noted to say, "It takes five to play on a team, but there are thousands who want to play—not everyone will make it, but even if they don’t at least they tried." "Higher Goals" was on view at the Cadman Plaza Park in New York from 1986 to 1987. He continues his 'Bird' pieces with his 1990 work of the same name. This time he addresses how African-American's have been given wide opportunities in certain industries, such as music and sport, however limited opportunities in others, for example, the Arts. This piece places a basketball, which is adorned with feathers and chicken wire, in the frame of a white-painted Victorian birdcage. The cage symbolizing the metaphorical cage that the African-American community still finds themselves in.