[1] He grew up in Westport, Connecticut, attending high school at Greens Farms Academy, followed by Bennington College in Vermont.

This contemporary revision of the nativity scene received great attention (not all of it positive[4]) and demonstrated Sachs' interest in the phenomena of consumerism, branding, and the cultural fetishization of products.

Alongside his study of cultural propaganda and dedication to the art of the tea bowl, Sachs has also cited plans to branch into stand-up comedy.

[5] His next major show, "Creativity is the Enemy", opened in 1998 at New York's Thomas Healy Gallery and Paris' Galerie Thaddaeus Ropac.

The sculpture was outwardly a full-scale model of the atomic bomb that was dropped on Nagasaki, and was a leap from handmade art into expensive outsourced fabrication.

For many, including Roberta Smith, the well-known New York Times art critic, the piece "bore no trace of Mr. Sachs's hand" and "could have been the work of several other artists.

For Sachs, a bricoleur is one "who hobbles together functional contraptions out of already given or collected materials, which he re-tools and re-signifies into new objects with novel uses, but more importantly, which he regenerates into a new, oscillating syntax: one of loss, gain, and more than anything, one of play."

After the failure of Sony Outsider, Sachs began to focus on leaving visible traces of his work, saying this a few years later: We have our system of making things out of certain materials ... and of showing the scars of our labor and the history of our efforts ... We have the "your way", "my way", and "the right way," and I must insist everything is done my way, even if it takes longer.

[10]Sachs organized an exhibition at Sperone Westwater in 2000 entitled "American Bricolage" that featured the work of 12 artists including Alexander Calder, Greg Colson, and Tom Friedman.

In 2006, the artist had two major survey exhibitions mounted in Europe, first at the Astrup Fearnley Museet for Moderne Kunst and next at the Fondazione Prada, Milan.

As Germano Celant writes in his monograph on the artist published by the Fondazione Prada, Milan, "The images and objects that make up the militarized space of consumption and fashion are at the very heart of Tom Sachs's visual passion."

[12] Nike quietly altered the packaging for a sneaker collaboration with artist Tom Sachs in 2017, scrubbing the box of his NikeCraft Mars Yard 2.0 shoe of the phrase "work like a slave" before the project launched that year, sources tell Complex.

Sachs built a 1:1 model of the Apollo lunar module, a mission control with 29 closed-circuit video monitors, and outfitted two female astronauts with handmade Tyvek space suits.

The Lunar Excursion Module (LEM) was built full-scale, but had many modifications that were probably not on any Apollo mission, including a fully stocked Vodka bar and a library (with titles such as Woman's Almanac).

After the astronauts' first step, they used Sachs' handmade shotguns to "patrol the surface", before planting a flag and taking rock samples—by drilling into the gallery floor.

"[28] After collecting twelve pounds of fake "Moon rocks", he named each significant piece and encased them in carefully constructed display boxes, like with Florida.

In addition, Sachs allows followers to download an up-to-date "Moon Rock Report" that includes detailed information on each collected sample.