“Little Bluefold” is part of Michael Snow’s Walking Woman series, which began in 1961 and was capped by eleven stainless steel figures strutting through the Ontario pavilion at Expo 67 in Montreal. Central to the series is a woman’s silhouette, a flat cut-out, let loose in various ways and in a variety of media. As Snow later recalled, “Some of the thinking involved with my Walking Woman Works … had to do with putting art elsewhere, in contexts other than art contexts (galleries, etc.). I reversed the order of an aspect of Duchamp’s work. Rather than choosing and taking a ‘ready-made’ from the ‘world’ and putting it in an art context, I made a ‘sign’ from within the art context and put it in the world.” Early in the series, Snow moved to New York, with his artist wife, Joyce Wieland, where he announced his presence by posting and inserting seven-inch Walking Woman stickers all around the city. Blocks of the same stickers were also used as the mail-out invitation for his 1964 exhibition at the Isaacs Gallery in Toronto. “Little Bluefold” consists of six of these stickers, painted blue, and stressed and folded in different ways, the outer images almost abstract. It also evokes the sequencing of film work, with which Snow was experimenting in New York. Snow called these paper reliefs “foldages.”