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.
Powerful
representations of sexuality, works such as Heretic (1944), in which a headless male torso sodomizes some kind
of strange furry animal, or Marta (1940) and Passionate (1943), both showing nude women surrounded by multiple
phalluses, were groundbreaking in their refusal to adapt themselves to contemporaneous discourses surrounding gender and sexuality.