The centerpiece of the altar is an artist's book, illustrated with queer semiotic figures and collages. The texts and poems explore the mundanity of queer experiences, personal experiences blurred with fantasies of teenage years, struggles with self-acceptance, and dreams of a peaceful everyday life.

The objects in the cabinet reference lesbian history through semiotic images used for mutual recognition. Using objects that overlapped with the blue-collar aesthetic, the keys hanging from the carabiner didn't stand out too much but provided safe space for those who recognized the sign.

Amy Knight Powell’s ''A Short History of the Picture as Box'' extends the box metaphor to late mediaeval panel paintings, which were often kept in protective cases, allowing portability and temporary removal. The imagery of an altar inspired by the article continues my study of Duchamp's art boxes. Additionally, this idea illustrates the depiction of tchotchkes through a hyperfeminine aesthetic and critiques as well as relates to the commodity fetishism.