Working independently, Herndon experimented at the forefront of a now-canonical method—appropriation—by painting additions into found images from magazines such as Life and Sports Illustrated in a way that imbues the resulting works with mythical significance. Associated with the Beat movement, her work is integral to that part of the history of San Francisco. White Angel (1962), painted in the year of Marilyn Monroe’s death, portrays the actress in a process of devolution. Pictured upright in Vogue at the top-right of the frame, she sinks in stages to its lower left, increasingly engulfed by encroaching layers of paint and paper. Beneath fiery, scribbled, gestural marks and surrounded by foreboding, masked figures, her famous, partially obscured smile looks like a grimace.