Escobar, pictured in New York City in 1968, stands next to a seven-foot-tall bronze work titled Father Damien. Although largely forgotten in recent decades, artist Marisol Escobar’s public persona and creative output made a serious splash in the New York art world in the 1960s. Operating on her own terms in a male-dominated scene, the French sculptor was “known for blithely shattering boundaries, ” as her obituary in The New York Times declared earlier this year. For one, Escobar maintained privacy in an age when the public thirsted for celebrity. She was described as “Garboesque” for her discretion: that is to say, on par with the famously reclusive habits of the Swedish-born actress. Escobar confounded others with her often-silent presence, but ultimately her shape-shifting This story is from Kinfolk Issue Twenty-Three Buy Now Related Stories Arts & Culture Issue 50 Close Knit Meet the weavers keeping traditional Egyptian tapestrymaking alive. Arts & Culture Issue 50 New Roots The Palestinian art and agriculture collective sowing seeds of community. Arts & Culture Issue 49 Karin Mamma Andersson Inside the moody, mysterious world of Sweden’s preeminent painter. Arts & Culture Issue 49 Amalie Smith The Danish arts writer finding clarity between the lines. Arts & Culture Issue 49 Studio Visit: Heidi Gustafson A cabin in the Cascade Mountains houses a hermetic artist—and her extraordinary world of natural pigments. Arts & Culture Issue 49 Checked Out Why is hotel art so boring?