The postmodernist designs of Memphis - the radical Italian collective, launched in 1981 - form one of the primary strands of DNA for New York textile artist Liz Collins. In this embroidery, one of a long-running series, she stages a witty conflation between their bold, colorful patterns and the tradition of the needlework sampler, associated with domestic women’s work in the 18th and 19th centuries. The result is not just visually arresting, but acts as a metaphor for Collins’ own aesthetic development - and more broadly, of the way that artists today selectively incorporate the past into their work.