It is evident that Reinhold Koehler can be considered a pioneer of décollage. He used this medium from 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 down to permanently show its underside. In 1960, Koehler started experimenting with fire, making imprints of kitchen implements on paper. In 1961, Koehler reached new creative heights 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', offset 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.