By working in what he called ‘the gap between art and life’, Rauschenberg aimed to bring a new scale and physicality to his paintings. Early on in his career, Rauschenberg produced groups of monochrome paintings, white, followed by black, and red. The White Paintings (1951), canvases painted with white latex house-paint, function as hypersensitive surfaces that register changes in their surroundings. This new emphasis encouraged viewers to attend to phenomena ordinarily ignored when looking at a painting, such as the play of shadows across its surface.

In his Combines, works melding painting and sculpture, Rauschenberg brought elements of popular culture and everyday life into his art through the process of collage, integrating a staggering array of materials into his compositions. His first and most famous combines was titled Monogram, a 1959 work that consisted of a stuffed angora goat, a tire, a police barrier, the heel of a shoe, a tennis ball, and paint. Rauschenberg’s ‘gap’ became the site of more than half a century of endeavours through which he redefined not only what materials could comprise a work of art but what a work of art could be. From the Combines, Rauschenberg branched out into printmaking, silkscreen paintings, performance, works involving technology and many other activities.

Widely illustrated with Rauschenberg's works and photographs of the artist in performance and in his studio, this book also examines Rauschenberg's extensive involvement in the performing arts, tracing his connections to avant-garde dance in America and addressing his own performances and work with the well-known choreographers Merce Cunningham and Trisha Brown.