In ‘Cancan’, sections of bodies, from thigh to torso, abruptly cut just below the ribs, are displayed doing the signature pose of Cancan dance, one leg kicking upwards. These rows of partial bodies are then duplicated and flipped upside down. The legs that are kicked up merges with the adjacent legs on top of it. The repetition of dancing human bodies in Hadassah’s monoprints, create patterns, abstraction, and variation, entrancing its audiences. Just like the Cancan dancers are aware that they are lifting their skirt and exposing their legs, -its intentionality and awareness ruin the voyeuristic experience for those who seek it, Hadassah’s subversive nudes are aware that they are playing with desires, both colonial and sexual, empoweredly flirty.