The exhibition opens with a collection of archival photography and technical notes relating to biomorphic sculptures dating from 1969 until the early 1970s. The sculptures constructed from muslin, shredded foam and rubberised cheesecloth were in part influenced by Claes Oldenburg and highlight Applebroog’s early approach to performance-based works on a human scale. The works of this period were never publicly displayed and were created shortly after the artist’s self-admittance to Mercy Hospital San Diego in 1969, following a period of deep depression and convalescence. The original form of the sculptures reminded Applebroog of a lifeboat. She later commented ‘It had two openings in it, and you could sit in it like a lifeboat. I used to sit in it and paddle away. It was just my little joke to myself.’ It was at this time the artist dropped her married name (Horowitz) and maiden name (Applebaum), conceiving of a new surname, Applebroog, seeking to represent the very deepest part of her being and outline her true artistic identity.