Domestic Bliss transforms objects associated with domestic labor, traditionally the purview of women, and supplants their original purpose and highlights obstacles, which impede the quest for gender equality. The innovative artist, Holly Ballard Martz, spent weeks painstakingly bending 200 hundred wire coat hangers into the likeness of the female reproductive system, an exercise in endurance for her hands and a representation of the slow and painful trudge towards full reproductive rights for women in America. She layered and stacked men’s detachable shirt collars as stand-ins for institutionalized sexism. Thousands of sequins have been affixed to forms typically used in the construction and pressing of garments, morphing them into glittering body parts and cuts of meat, as women’s bodies are often reduced to decoration and objects of desire. She says, “ I deliberately chose to work with materials and processes long considered the female domain as a reminder that with every prick of the pin and curve of the wire, women’s work is truly never done.”