Sculpture Family (2015) brings together an eclectic assembly of materials, combining metal, printed cardboard, laminate, plastic foam, and plastic fittings into a single cohesive object that stands just under ninety centimetres tall. Alice Könitz, whose practice consistently explores the relationships between everyday industrial materials and the sculptural potential of domestic or familiar forms, constructs here something that feels simultaneously utilitarian and deeply playful. The work resists easy categorization, occupying a space between furniture, prop, and autonomous object, and invites sustained attention to how its constituent parts negotiate with one another across surface, texture, and structure. Könitz has long been associated with a rigorous conceptual approach that nonetheless retains warmth and wit, and Sculpture Family exemplifies this balance. The work belongs to an edition of one thousand, numbered 55 from 56, a designation that situates it within a broader democratic impulse in the artist's thinking about distribution and access. That an object so materially specific and formally considered can exist in multiples speaks to Könitz's interest in destabilizing assumptions about scarcity and singularity within contemporary sculpture. The relatively modest scale makes it well-suited to a range of domestic and institutional contexts, and its dimensional footprint of roughly 46 centimetres square gives it a grounded, inhabitable presence. This example is offered through the Feminist Center for Creative Work Benefit Auction, an institution whose mission to support women and nonbinary artists aligns meaningfully with the values embedded in Könitz's broader practice. The work ships from Los Angeles, with shipping costs borne by the buyer, and presents a compelling opportunity to acquire a considered, edition-based sculpture by an artist with a significant international exhibition history.