his first assemblage works in 1959. In 1961, Kienholz completed his first large-scale installation, Roxy's, a room-sized environment which he showed at the Ferus Gallery in 1962. Set in the year 1943, Roxy's depicts Kienholz's memories of his youthful encounters in a Nevada brothel complete with antique furniture, a 30s era jukebox, vintage sundries, and satirical characters assembled from castoff pieces of junk. This artwork later caused a stir at the documenta 4 exhibition in 1968. A 1966 show at the Los Angeles County Museum of Art (LACMA) drew considerable controversy over his assemblage, Back Seat Dodge ‘38 (1964). The Los Angeles County Board of Supervisors called it "revolting, pornographic and blasphemous", and threatened to withhold financing for the museum unless the tableau was removed from view. A compromise was reached under which the sculpture's car door would remain closed and guarded, to be opened only on the request of a museum patron who was over 18, and only if no children were present in the gallery. The uproar led to more than 200 people lining up to see the work the day the show opened. Ever since, Back Seat Dodge ’38 has drawn crowds. LACMA did not formally acquire the work until 1986. In 1966, Kienholz began to spend summers in Hope, Idaho, while still maintaining studio space in Los Angeles. Also around that time, he produced a series of Concept Tableaux, which consisted of framed text descriptions of artwork that did not yet exist. He would sell these works of early Conceptual Art (though the term was not in widespread use at the time) for a modest sum, giving the buyer the right (upon payment of a larger fee) to have Kienholz actually construct the artwork. He sold a number of Concept Tableaux, but only The State Hospital progressed to a completed artwork. Kienholz's assemblages of found objects—the detritus of modern existence, often including figures cast from life—are at times vulgar, brutal, and gruesome, confronting the viewer with questions about human existence and the inhumanity of twentieth-century society. Regarding found materials he said, in 1977, "I really begin to understand any society by going through its junk stores and flea markets. It is a form of education and historical orientation for me. I can see the results of ideas in what is thrown away by a culture." Kienholz occasionally incorporated defunct or operating radios or televisions into their