Idelle Weber's pioneering work of the 1960s used black silhouetted figures, both male and female, to capture the energy of commercial vitality but also stark divides within New York City and the US more generally. The delicate but powerful work on paper Flower Girl (1960) is sensual and confident: sexual liberation in paint and collage. However, as across all of Weber’s work, there is a sense that the graphic objectness of the bodies she depicts makes the viewer aware of the power of the gaze and their own role as a voyeur.