Though tiny, the works of Addie Herder contain a vast world of their own. “There is something addictive about the collage constructions of Addie Herder,” wrote historian John Russell; “once under their spell, we can’t see enough of them.” An important figure of the New York art scene in the years following World War II—her studio was a hangout for the likes of Andy Warhol, Robert Rauschenberg, and Jasper Johns—Herder created elaborate constructions from found ephemera at a time when other artists were making grand statements through painting. She has long been considered an artist’s artist, one whose work bridges the gap between artists Max Ernst and Kurt Schwitters and the world of Pop and painters like Philip Taaffe. Some of her best-known works are her “Pop Machines”—collages that render intricate, fantastical machinery in a flat, Pop aesthetic.