Looking at mid-20th century commercial culture in America, the new modern woman began to be and was idealized as sharing attributes with objects of domestic convenience, efficiency, and planned obsolescence. This series Ten Most Wanted Women expands on Hall of Portraits from The History of Machines to construct a satire offering an alternative pictorial history in which two objects of desire become merged — that is, the modern female, and the domestic convenience. The Jacquard woven tapestries feature oversized portrait heads deriving from archival research and find historical context in Andy Warhol’s controversial Thirteen Most Wanted Men (1964 World’s Fair, New York State Pavilion).