8/19/02"Talia's New House" The story of the unveiling of this work, at the Museum of Modern Art in New York, is perhaps the most well-known event in art circles. This is the piece. The chatter emminating from so many hundreds of art critics slobbering in unchecked anticipation was called to an abrupt halt when the curtain was pulled, reveiling this masterpiece. The best estimates record at least 15 seconds of dead silence, broken by an anonymous "damn!" Five more seconds of stunned dumbness, then the same awestuck voice, "damn." Never has a work been so respected while at the same time so misunderstood. Furious debates (and at least one physical brawl) have raged all around the world regarding the significance of the "dn" and "ob" on the doors barring entrance to this structure. Franks, when questioned, answers only with one of her standard mona-lisa smiles.
		2/19/02"The Beautiful Tree" Many scholars believe this piece to be the quintessential moment in Franks' exploration of Western theism. The fruits in the tree of this Garden of Eden are facetiously overripe, and the bright sun and other bold colors are an expression of unadulterated perfection. However, in a standard Good v. Evil motif, Franks depicts the seething enigmatism of evil in the enigmatic enigma of the sinuous black lines crawling up the trunk of the tree.
		2/11/01"Judy" Many regard this work with a sigh of relief. Finally, Franks takes a refreshing, optimistic view of life! A casual observation of this drawing yields a picture of a happy smily face in the center of life's stage, with colors, etc., etc. Unfortunately, those scholars who know Franks best see this as a sardonic farce. The smily face here is just too casual for Franks' practiced hand. This is mere parody, and those thinking otherwise are the fools she is mocking.
		2/11/01"Bird" In a heartning wave of simplicity, Franks creates "Bird." Even masterminds such as Franks sometimes sit down and simply draw pretty pictures. However, one cannot help wondering if the brilliant colors in the midsection of an otherwise completely green bird could represent a child? Surely, Franks has not completely given up her exploration of maternity and matriarchy themes.