An empty wallet and a short elevator ride is all you need for your mind, body and soul to be transported to the graphic tumults of the late ’60s.

Thanks to the latest gallery at State Street’s Madison Museum of Contemporary Art, “Signs of the Times: Robert Rauschenberg’s America,” MMoCA patrons may unmask the convoluted lights and darks of this rocky era. Though admittedly less recognized than other artists of his time — the most celebrated being pop icon Andy Warhol — Rauschenberg has still attained far more than his 15 minutes of fame: His works were originally presented in the summer of 1970 at an exhibition in the New York Cultural Center.

Rauschenberg’s “Reels (B+C),” “Stoned Moon Series” and “Surface Series (from Currents)” are now available to Madison public at no cost through January 3, and are sure to rapidly attract a devoted Midwest fan base. While Rauschenberg has utilized diverse artistic mediums for his pieces, ranging from painting and sculpture to theater design and performance art, he simplistically relies on screen printing, lithography and photogravure for this particular exhibit, creating a “photomontage” chronicling the ’60s through his own unique lens. Through these techniques, Rauschenberg managed to break up the behemoth that was the 1960s and define the era through distinct and poignant detail, his approach clearly uninhibited by any fears of controversy.

Rauschenberg’s 1968 “Reels (B+C)” is notably unique from the start, featuring a surprising Bonnie and Clyde theme. However, any initial shock on this front will quickly be gunned down as viewers begin to appreciate the bold colors and edgy paintwork that accentuate the gory denunciation of authority and the establishment highlighted in the milestone 1967 film. The paint chosen for these six choice lithographs are restricted to a vivid magenta, electric yellow, sultry purple and a Martian shade of green. All in all, these are colors just as psychedelic as the era his artwork exposes.

“Stoned Moon” is undeniably the meat of the exhibit, having the largest number of individual pieces and so naturally occupying the most wall space. A majority of the content was completed in 1969. Even more bountiful in radical coloration than “Reels,” these works have the capacity to move, sensitize and inspire any eye cast upon them. Rauschenberg’s scrawling paint strokes paired with his well-placed clusters of photos, news clippings, charts and other period mementos melt away any doubts of his advanced craftsmanship.

While not all of “Currents” could be brought to the Madison exhibition — it was the largest original print at the time of its completion in 1970 — the exhibit would not be complete without “Surface.” These more political screen prints are described as “mimicking the character of newsprint,” depicting headlines spiraling through the civil rights, environmental and feminist movements along with anti-war protests and riots. The black and white starkness of “Surface” is very metaphorical of the contrast between the media and reality.

In addition to the unique and brilliant collection, the gallery itself is well put-together, boasting an informative timeline of the decade printed along the foyer leading chronologically through “Reels,” then to “Stoned Moon,” and finishing with “Surface.“ To complete the experience, “Signs” has a quaint multimedia nook to the rear of the exhibit with historical footage as well as a small craft station for the youngest of art aficionados. Every aspect of the exhibit is a celebration of Rauschenberg’s beautiful record of American history.

Not only does each piece of the three-part series pack a wicked visual and emotional punch, but it inevitably rockets the viewer back to the history and culture of a past paradigm, one which most UW students did not have the opportunity to experience firsthand. Needless to say, Rauschenberg’s artwork has found a welcoming resting place in the city of Madison.