In addition to being revealing, the sophistication and originality of the outfit is extraordinary. She combines a sweater skirt in English tweed, black floral print top, leather bag and black lace, with black shoes and white socks. I suspect many young men would be intimidated by her self-confidence, originality, and quite possibly intelligence.
The works on the walls:
Pryde deploys words and props—ribbon, string, and Mylar—to instill personality in the animals’ deadpan expressions but also plays with photographic conventions, manipulating the subjects through closeups, double exposures, and shifts in focus.
Actually, the works on the wall are relevant, to some small degree. MOMA says the photographer is in favor of liberating guinea pigs from research clinics, slaves and the bodies of women. One might think that this young woman is a more successful artist, on that front, than the photographer on the wall.