This sculptural assemblage, a fusion of human anatomy and inanimate form, is anchored by a birdcage—typically a symbol of confinement. Within it, two mannequin hands are positioned in a pointed gesture towards each other, suggesting an eerie tension between movement and restriction. The birdcage becomes a container for this interaction, seemingly embodying a complex relationship between freedom and imprisonment. The piece sits atop a stool made of mannequin legs, complete with hose and high-heeled shoes, evoking femininity and display. Yet, the artificiality of these elements highlights the objectification and fragmentation of identity. The legs are conjoined above the bent knees, forming the stool in a surreal, unsettling manner, where the metaphor of chair legs becomes a grotesque distortion. The absence of a head and torso intensifies the dismembered effect, reflecting surrealism’s fascination with broken bodies and psychological disconnection. First exhibited in the 1938 Paris Surrealist Exhibition, this work exemplifies the artist’s exploration of the grotesque and uncanny. Described as an unexpected surrealist object, as if it had come from a dream, it is said to have arisen from the artist’s erotic fantasies and is now lost.