Sheila Pinkel: Early Works, 1974–1977 presents twelve cyanotypes shown for the first time, revealing the experimental foundations of Pinkel's investigation of light, form, and materiality. Body prints made with the sun as light source produce surrealist figures that float, contort, and multiply; other works layer objects and photographic images onto cyanotype emulsion approached like pigment; and early incorporations of computer-generated imagery — a largely uncharted move at the time — weave digital forms alongside analog elements. Marilyn Monroe surfaces unbidden within one work, spectral and digitized. Across all twelve, the tension between analog and emergent digital, body and object, holds the exhibition together.