The combination of an actual chair (discovered in a New Jersey antique shop) with found objects, including a household mop and musical notation paper (a stand-in for Picasso's shading), invites reflection on the intersections between various modes of representing depth in both two and three dimensions. As in Segal's other works, the cast of the nude woman, who in real life worked as a go-go dancer, serves as a bridge between "real space" and the artist's "proscenium stage." While Picasso's original etching is not an integral part of the sculpture, Segal expressed a willingness to exhibit the work in conjunction with his piece, with the stipulation that the Picasso be hung on a different wall.