When she arrived in New York in 1958 the originality of her art was recognized by the avant-gardes. In 1959 and 1960 she painted many Infinity Nets. In the following year she moves her studio into the same building as Donald Judd and Eva Hesse.
Hard work is not sufficient to heal her. Like Dali thirty years earlier, she manages to use artistic creation to confront her own sexual aversion. She becomes a pornographer and an exhibitionist and provokes indecent happenings. She paints her signature polka dots on her clothes or her bare skin and will later do the same on her assistants.
The flat surface of her paintings is no longer enough for her. In 1962 she filled socks with cotton or mattress stuffing to simulate phalluses which she uses to fully cover some pieces of furniture and various objects. To evoke the female fertility, she recovers cardboard egg cartons that she dispositions convex side up on large canvases in the same tight repetition as for her Infinity Nets. The interstices are clogged with a stuffing and the whole is painted.
On May 16 in New York, Sotheby's sells a 126 x 147 x 6.4 cm Untitled made in 1962 with egg cartons affixed on a linen canvas recycled from an earlier painting. This artwork is estimated $ 7M, lot 31.