When British Pop artist Allen Jones first showed a trio of sculptures, Table, Chair, and Hat Stand in 1970, he sparked a wave of public outrage. The realistic sculptures were Jones’ interpretations of forniphilia, or a form of sexual objectification in which a person is used as an item of furniture. Although some see the sculptures as emblematic of the spirit of the 1960s, they continue to spark heated debate today. Jemima Stehli reworked Jones’ sculpture 18 years later, positioning herself as the mannequin. By using her own body in her work, Stehli’s photograph speaks to complicated issues of power and control, objectification and fetishization of the female form, voyeurism, and the roles of the artist and viewer.