Durango’s padded interior—discarded cloth rags wrapped around a wood stretcher bar—gives way to a sturdy, skin-like musculature, creating a tension between the seeming corporeality of the structure and its synthetic materials. The anthropomorphic form engages ideas of process, labor, and materiality that connect feminist strategies and concerns of Minimal and Postminimal art. By adopting repetitive and additive procedures such as wrapping, braiding, and binding as sculptural practice, the artist recuperates physical activities often associated with women’s domestic work. The sculpture’s coiled form registers and makes visible Hammond’s labor, rendering her physical engagement with its materials an integral part of the work itself.