in her work. One of Nengudi's close friends and one of her art collaborators, David Hammons brought forth an explanation for the public's lack of interest in Nengudi's work, ascribing it to the abstract aesthetic present in many of Nengudi's pieces throughout the 1960s and the 1970s. Furthermore, Nengudi's "R.S.V.P" sculptures differed greatly from most of the art work made popular by her artistic peers in Los Angeles and New York. Nengudi was made aware of the perception of her art by the public as it compared to artwork made by her peers, particularly in New York, where some people felt she was not making "black art." Nengudi's "R.S.V.P." sculptures have made more recent appearances in traveling group shows, including in the exhibition, Now Dig This! Art & Black Los Angeles 1960–1980 (from 2011–2013) and Blues for Smoke (2013). Ceremony for Freeway Fets (1978) Nengudi and members of the Studio Z collective (including Hammons and Hassinger) performed, Ceremony for Freeway Fets (1978) under a freeway overpass on Pico Boulevard in Los Angeles. Nengudi designed costumes and headdresses made of pantyhose for the performers. Hammons and Hassinger played the roles of male and female spirits, with Nengudi performing as a spirit to unite the genders. Both the dance performance and soundtrack, performed by members of Studio Z, were improvised. Warp Trance (2007) During her 2007 residency at the Fabric Workshop and Museum in Philadelphia, Nengudi incorporated video art into her practice for the first time. During visits to textile mills around the state, she recorded video and audio footage of the textile mills in full operation, and she also collected objects, like Jacquard punch cards, which were used to program Jacquard loom machines, mechanizing textile mills. In the final installation, Nengudi projected video footage onto a vertical screen of punch cards in a space with ambient sound from the audio recordings. The work explores themes of technology, the politics of labor, contemporary music, and the repetition of ritual dance. Poetry and curation In addition to her installations, sculpture, and performances, Nengudi also creates paintings, photography and poetry. She has also curated exhibits, including the solo show of Kira Lynn Harris at the Cue Art Foundation in New York in the spring of 2009. She writes poetry under the pseudonyms Harriet Chin, Propecia Lee, and Lily B. Moor. In an interview, Nengudi explained how she decided to use these pseudonyms:"It all started