Both artists revelled in shocking, sexually explicit presentations; met tragic ends as cancer ravaged their own bodies; and, most importantly, offered affecting and innovative new ways to think about sculpture. Their work oozes with sexy, grotesque visions of femininity and compelling refutations of traditional, figurative, three-dimensional forms. Szapocznikow’s The Bachelor’s Ashtray I (1972), for example, is a polyester resin bust of the lower half of a woman’s head. Real cigarette butts appear to float on top. The juxtaposition of the plush pout and ashy nubs suggest a very Freudian union of sex and death. Same goes for Wilke’s series of black-and-white films “So Help Me Hannah” (1979–85), in which the artist dances in the buff while wielding a small, dark gun.