Between the 1960s and the 1970s, Detroit’s Cass Corridor was the center of a burgeoning local art scene that echoed and responded to what was happening in New York’s Greenwich Village. Its artists embraced a rough formalism in works often crafted from repurposed industrial materials. Cay Bahnmiller (1955–2007) was loosely associated with this milieu and intersected it in multiple ways, but she surpassed it with her vibrant thinking and art. She was a painter and sculptor whose accumulative rhizomatic approach to object making incorporated Detroit’s material and psychic detritus, but she turned