In two separate interviews available within the exhibition, Marisol cited Rembrandt and da Vinci as influences. Rodríguez Muñoz notes of Marisol’s drawings that “they’re not doing what Pop Art did in terms of elevating consumer culture, she’s introducing more intimacy and vulnerability, and irony towards fame.” The Centro Botín show is loosely structured around three “displacements” that truncated her life, increasingly stoking her skepticism of the Western art nexus. Even beyond reductionist criticism, art historian Cecilia Fajardo-Hill notes Marisol’s multiple identities muddled the context in which her work was featured. A catalogue essay notes Marisol’s art world prevalence coincided with a surge in feminist thought: in 1963 Betty Friedan published The Feminine Mystique, and throughout the decade, the English translation of The Second Sex by Simone De Beauvoir increasingly circulated.