Benglis began her career in the midst of Postminimal art, pushing the traditions of painting and sculpture into new territories. Benglis initiated several bodies of work in the late s and early s that set the course for her subsequent practice. Her wax paintings, which began with brushed skin-like layers of pigmented beeswax and dammar resin transitioned into the use of a blowtorch as a kind of brush, manipulating colors into a marbleized surface that seemingly fought against the constraints of the lozenge-shaped Masonite panels. The impulse to see these forms flow beyond the structure of a traditional support led Benglis to embrace pigmented latex, which she began pouring directly onto the floor. Concurrently, she began working with pigmented polyurethane foam, building the volume of her sculptures vertically by pouring the oozing, lava-like forms against walls and in the corners of spaces or over constructed armatures and chicken wire that, once solidified, were mounted to the wall. Painted with metallic sparkle, Sculp-Metal, or layers of sprayed, vaporized aluminum, copper, zinc, or tin, the works are complicated further by the reflections of their surfaces, conflating the sculptural object with painterly space.

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By Emily Temple June 2, , am. The novel is about Erin Adamo, a PhD student living in New York who, in the midst of a breakup with her husband, gets locked out of her apartment. She has with her a debit card, a Metrocard, a phone, and a bag containing papers. Instead of asking anyone for help, she goes to her university library and spends the night there. Through these documents we start to see how both Erin and LeGouffre live inside dysfunctional systems—romantic relationships, family, academia, society—that erase women.