that Simon Rodia used, the broken dishes, sea shells, rusty tools, even corn cobs—all pressed into cement to create spires. To me, they were magical." In oral history interviews, Saar later recalled seeing extensive African, Oceanic and Egyptian art on a visit to the Field Museum in Chicago as being "an important step in my development as an artist ... They had rooms and rooms of it. I had never seen that much.” She found the robe of an African chief especially meaningful. She began to create work that consisted of found objects arranged within boxes or windows, with items that drew from various cultures to reflect her own mixed ancestry: African American, Irish, and Native American. Rejection of white feminism and reclaiming the black female body Saar was raised by her Aunt Hattie, who influenced her identity as a Black woman. Saar described her great-aunt as a woman with dignity and poise, which impacted her depiction of the Black female body. This impact is evident in a work Saar dedicated to her great-aunt titled Record For Hattie, 1972. Saar's rejection of white feminism initially pushed her artistic focus on the Black male but in the 1970s she shifted her focus to the Black female body. Record For Hattie is a mixed media assemblage made from an antique jewelry box. Inside the top of the jewelry box is a broken picture frame containing a faded picture of a woman, representing her Aunt Hattie. Surrounding the picture frame rose materials are sewn along with a red and white star and crescent moon pendent. In the bottom of the jewelry box there is a metal cross on the right side, a red leather wallet in the middle, on top is an image of child, and on the left there are sewing materials. During the 1970s Saar responded to the racism, fetishization, and eroticization of the Black female body by reclaiming the Black female body. Saar's work resisted the artistic style of primitivism, as well as the white feminist movement that refused to address issues of race. Saar's work is a result of the convergence of Black power, spirituality and mysticism, and feminism, as seen in Black Girl's Window, 1969. Black Girl's Window is an assemblage piece made from an old window, in which the painted silhouette of a girl presses her face and hands against the pane. Above her head are nine