Anticipating her later art — such as the well - known La Fillette (1968), a more literal representation
of phallus, testicles, and labia — Labyrinthine Tower subverts the traditional
concept of sculpture as erect form: it remains unclear whether its spiraling segments are rising toward full extension or sinking into flaccidity.
Cruz examines these important
concepts through dramatic tonal shifts that range from pastel to darkened shades
of grey that render sinewy and supple male forms with exposed flaccid
phalluses.