in a lot of different ways, by residue, by touch, by these processes that are basic to all of our lives... that people might relate to in terms of process... everyday activities--bathing, eating, etc. But there are times when the best way to keep people in that place, which for me is so alive and pertinent, is to show the process or the making. She says of this performer/audience interaction: "This letter sums up my relationship to my audience. I have a deep love for the viewer; they are my imaginary friend." Antoni has cited Louise Bourgeois as a strong artistic influence, referring to Bourgeois as her 'art mother.' Antoni's work is in various public museum collections, including the San Francisco Museum of Modern Art (SFMoMA), National Gallery of Art, the Solomon R. Guggenheim Museum, The Broad, the Metropolitan Museum of Art, among others. She was interviewed for the 2010 documentary film, !Women Art Revolution. Work Gnaw (1992) In her work Gnaw (1992), Antoni used her mouth to bite, chew, and carve the corners and edges of two 600 lb (300 kg) cubes, one made of chocolate and the other of lard. She collected the removed pieces of chocolate and lard to create a separate mock store front display which she called Lipstick/Phenylthylamine Display, consisting of heart-shaped boxes made of chocolate and lipstick tubes filled with a "lard, pigment, and beeswax". Antoni made a statement about her work saying "Lard is a stand-in for the female body, a feminine material, since females typically have a higher fat content than males, making the work somewhat cannibalistic". In this work, Antoni addresses the transformation in cultural acceptance of feminine desire and sexuality. Loving Care (1993) In Loving Care (1993), Antoni used her hair as a paintbrush and Loving Care hair dye as her paint. Dipping her hair in a bucket of dye, Antoni mopped the gallery floor on her hands and knees, pushing viewers out of the space as she coated the floor in color. In this process Antoni explored the body, as well as themes of power, femininity, and the style of abstract expressionism. Her performance was at the Anthony d'Offay Gallery, London, in 1993. Lick and Lather (1993) In Lick and Lather (1993), Antoni produced fourteen busts of herself, seven cast from chocolate and the other seven from soap. She then "re-sculpts" the busts by licking the chocolate and bathing