By showing how a mother’s work and family life literally spill into each other, Intersection questions the viability of rigid division, both physical and emotional, between public and private life. The two panels constituting the diptych are exhibited at right angles in the corner of the gallery such that the images are reflected in one another. On one side we see a woman (the artist) from behind wearing a knee-length dress and holding a baby: a stream of milk runs down the baby’s leg and into a briefcase on the floor. On the other side, we see the same woman in suit clutching a breast pump, weapon-like, behind her back. The shallow field of the image and its saturated red ground refer to the compressed, emblematic language of commercial signage. The form reminds us that advertising is part of the stream of conventional representation that shapes how women move in the world. By refusing to separate the sphere of mothering from that of paid labour, Intersection insists upon maternal mobility.