He worked in the Weldon Leather Tannery, the Allied Products Wire Wonder Utility Factory making laundry baskets, and the Clearwater Ranch in Cloverdale, where he was a live-in counselor for autistic children.
The artist drove a Volkswagen bus decorated in collage, many of the images relating to current events and politics.
Behind a one-way mirror the audience could watch Winters play the character of Bob-E, whose goal was to make a monument for everyone in the world in the form of blue and yellow rubber top hats.
[5][6] Throughout the rest of 1975 and 1976 Winters traveled throughout Europe and North Africa, showing a solo exhibition entitled Dedication to the Man Whose Main Job Was Testing Whistling Tea Kettles in 1975 at the Konrad Fischer Gallery in Düsseldorf, West Germany.
They also made a Super 8 film in NY called Rich-Poor, in which they asked people on the streets their thoughts on the rich and poor.
This short-lived collective was based out of an office on lower Broadway and offered “Practical Esthetic Services Adaptable to Client Situation”, as stated on their business card.
[2] To cap off a busy year, Winters also became one of the first artists to join the Mary Boone Gallery, showing a successful solo exhibition in 1981.
The artist made 90 drawings based on images found in the large collection of art books in the home's library.
[8] In the Playroom, walls were covered with paper and cardboard boxes were placed in the room, all with the purpose of the audience being able to create their own art.
Winters again explored the accessibility of art, as he did in Playroom, with his exhibition Train of Thought/Objects of Influence, held in 1989 at both the Wadsworth Atheneum's Lion and Matrix galleries in Hartford, Connecticut—that exhibition installed by himself and Drury, whom Winters had employed as his studio assistant on returning to New York City, following his engagement at the Pilchuck Glass School.
The use of such devices as audiotapes, Braille-like mono-types, low display furniture, wide aisles and ramps, and walls with colors and scents to make sure that his target audience of the visually and auditory impaired were included.
[24] That same year (1990), Winters was invited by the Val Saint Lambert glass factory in Belgium to create glassworks in their facility.
A portion of the works, a group of glass heads and hats that the artist had produced at the factory, were exhibited in 1990 at the Centre d’Art Contemporain Geneve in Geneva, Switzerland.
[28] In 1994 Winters had a show at the Michael Klein Gallery in New York City entitled Notes from the Finishing Room, a solo exhibition of paintings.
The show began at the Queens Museum of Art in New York City, and the next year traveled to the Crafts Council in London, England.
[35][36] The following year The Times Square Show Revisited was held in the Bertha and Karl Leubsdorf Art Gallery at Hunter College in New York City.
[37][38] Also in 2012, Winters took part in It’s Always Summer on the Inside, an exhibition of paintings and large drawings held at the Anton Kern Gallery in New York City.
Winters is an artist because art is vital, and his constant process of change only makes being an artist all the more rejuvenating and intense.” Joe Scanlan, Robin Winters, exhibition catalogue at the Renaissance Society[41] “His work is consistent in its tossed-off nonchalance and its often rugged physicality, but it fluctuates in terms of paint handling, drawing, subject matter, as well as the choices of materials and media.
The disparate manifestations of Winters’ sensibility – which include paintings, drawings, installation pieces, and performance – often appear to be the products of a changing cast of characters rather than a fixed persona.” Roberta Smith, Think Tank, exhibition catalogue at the Institute of Contemporary Art, Boston[8] “At heart a Conceptualist, he has explored so many forms (he shows often but rarely in the same place twice) that you begin to suspect it’s all an elaborate tease to keep us wondering what he will do next, and where.