In the 1960s, Louise Bourgeois' art underwent a significant transformation that reflected deeper explorations of organic forms and processes. This period marked a shift from her earlier focus on more rigid structures to works that embraced a more fluid and organic aesthetic, influenced by her emotional and psychological investigations. This transition in her artistry coincided with her engagement in psychoanalysis, a journey that deeply impacted her creative output. Bourgeois' participation in the seminal exhibition "Eccentric Abstraction" in 1966, curated by Lucy Lippard, underscored her move towards these more organic and abstract forms, setting a precedent for her later works that continued to delve into themes of femininity, sexuality, and the unconscious​ (Art Gallery of NSW)​. The 1960s also catalyzed Bourgeois' exploration of the spider motif, a symbol that would become central to her oeuvre and one of her most iconic contributions to contemporary art. The spider emerged not only as a representation of her mother, whom Bourgeois revered for her industriousness, patience, and protective nature, but also as an emblem of repair and restoration, mirroring Bourgeois' own creative process. Bourgeois likened herself and her mother to spiders, emphasizing the act of weaving and repairing as intrinsic to their identities. The spider, as both creator and protector, offered a rich metaphor for Bourgeois' exploration of maternal themes and the artist's role in mending the emotional and psychological wounds inflicted by life​ (Art Gallery of NSW)​. These explorations in the 1960s laid the groundwork for Bourgeois' later, more monumental works, including her famous large-scale spider sculptures in the 1990s. Her deep dive into personal themes of repair, restoration, and maternal homage during this decade underscored her broader artistic inquiries into fear, anxiety, and the pursuit of wholeness through art. Bourgeois' work from this period reflects a pivotal moment in her career, where her art became a vehicle for working through and visually representing complex emotional landscapes, setting the stage for her continued influence in the realms of feminist art and beyond​ (Art Gallery of NSW)​.