Lucy’s Fancy (1960) stares us down with a pair of oversized boots, tomato red, separated and framed by bands of blackened mud against a blue-gray linoleum floor. The confrontational floor is at once seductive, slightly threatening, solemn, and vaguely cartoon-like. Part of its impact derives from the way the burgeoning, implicitly soft shapes and oversized, aggressively cropped, curvaceous pools of detergent hint at
tactile memories of the female body.

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