60" x 138" Wild Cherry Charms in 1971. Five children(including Nezhnie’s son, Jonothan) dressed in Halloween costumes pose on the viewer's right side, with larger-than-life faces of two of them on the left. Large circles appear in front of the figures with letters of a Cherry Charm candy wrapper running sideways across the tapestry. Many more innovative figurative works followed, including her most ambitious non-rectilinear star shaped Constellation, spanning 84". Perhaps Nezhnie's best examples of dichotomy between what appears to be realistic imagery at a distance but becomes unrecognizable color fields when viewed at a few feet are Shining Knight, a portrait woven in nubby brown cotton on a backdrop of shiny mylar, and Nader, which is a very long, 39"x188", magnification of Ralph Nader's eye and eyebrows. In general, she created the images by altering the form of lines. In the case of Nadar the details appear to cluster or cling to the rhythmical vertical lines creating convincingly attractive abstract shapes. In the later 1970s she wove small 7" or 8" lustrous silk portraits framed by dark brown raw silk borders. During the decade, she wove at least 13 portraits, many as private commissions. In all, she executed over 45 tapestries during the 1970s, including the first of the Holocaust series, Daughters of Auschwitz, in 1979. Holocaust series A pivotal experience for Nezhnie occurred during a trip to Europe in 1973, when she viewed the Bayeux Tapestry, an embroidered account of the Normandy invasion of England that stretches for 110 feet. Its role in recording a major conflict through a long series of graphic scenes with written commentary provided the direction she needed for commenting on the Nazis and the Jews. However, she struggled for more than 4 years before gaining the confidence to work on such emotive material. She started by hunting down visual accounts of brutality, yet her goal in designing for these tapestries was to find a balance that would attract viewers enough to the overall image to really look at the unpleasant incident depicted. Placing text within the design would effectively draw the viewer deeper into the content. According to Rees: "Once the image and corresponding text was determined, she called on all her design skills, first to create a color palette that was subdued but appealing, then to hone the image down to essential details in order to give potency to the message." Five