It is evident that Reinhold Koehler can be considered a pioneer of décollage. He used this medium as of 1948 and exceeded all contemporary art-historical definitions of the technique.
Following a series of 'Plakat-Décollages', made in the spirit of the Nouveaux Réalistes in France, Koehler started inventing his own décollage techniques. His first innovation, called 'Décollages Gravés', involved knife-scratching into the paper before covering the paper with ink and then tearing away several layers of the paper to reveal the slight incisions marked out by the remaining ink. In 1959 Koehler began to make his so-called 'Décollage Positiv-Negativ', in which he carefully tore away the paper by hand to fold it over and glue it as to permanently show its underbelly. In 1960 Koehler started experimenting with fire, making imprints of kitchen implements on paper. in 1961 Koehler reached another creative height with the production of his unique glass décollages known as 'Contra-Collages'. These did not halt his continuous pursuit of originality as in 1966 Koehler made a series of 'Décollages Imprimés', or prints of flattened food cans found in scrapyards. In 1968 Koehler made his 'Fenêtres décollagés', offsett prints of manipulated photos of defunct industrial buildings taken by his friends Bernd Becher and Detleff Orlopp.

Koehler’s works can be found in the European Parliament, Brussels, and all major German and Austrian museums.