In these postapocalyptic scenes, skeletons made of recycled leather gloves float suspended in seas of sperm, child-sized skulls, and broken chains of DNA. With the symbol of the skeleton, Scott imagined women, those who traditionally held the role of caregivers in society, facing a future in which the next generation cannot survive. These titles refer to the threat of nuclear holocaust in the 1980s during a renewed period of political and ideological standoffs, primarily between the United States and the Soviet Union and their allies. This body of work addresses the widely shared fear of nuclear annihilation. Scott achieved the textiles’ bright hallucinatory feeling by emulating molawork techniques of Indigenous Kuna women she visited in Panama’s San Blas Islands in 1976. A component of Kuna women’s traditional garments, molas are made by reverse appliqué: colorful fabrics are layered then cut away in concentric patterns to reveal contrasting hues beneath. When two different hues of equal brightness meet, their borders appear to vibrate.