In Unicorn and The Key, Jessica Jackson Hutchins (Chicago, Illinois, 1971) presents her family heirloom baby grand piano, which she has dramatically altered for her art. The mythical unicorn is referenced by the large phallic ceramic horn or tusk sitting atop the piano’s cover. Hutchins has distressed the surface of the piano with gashes, marks and graffiti. These interventions to the piano lid were done to create several large-scale woodcuts, such as Piano Print (Yellow Ochre), which highlight the patterning of the marks on her piano’s surface. A result of these prints and woodcuts is the staining of the piano’s keys in a variety of hues, the result of the ink leaking for the prints pressed on the piano’s lid. A key is carved on the lid of the piano bench, and a lumpish form has been stuffed into the seat, rendering the bench unusable and the piano difficult to play. Hutchins’ transformation of her musical instrument into sculpture, allows us to see the continuum between utility and art. In Hutchins’ work, nothing is wasted. The wood pieces and shavings removed from the piano to form the woodprints were recycled by the artist into collage. Reflecting on the wood that was transformed to make the piano, Hutchins continues the unending transformation of organic material.