They were terrifyingly giant sized and had a tendency to climb walls (like Rachel Whiteread's Mattress.   One elegantly  both ancient and up-to-the-minute,  with a shiny black crumpled back, sparkling trim, silver embroidered ‘eye’ and silk lining beneath knitted silver wire.  The second lower-key: dull yellow fabric covered with woolly fleece with sparkly trim, and patches in metallic threads. Each ironically trailed salt from its tail and each had knobbed horns.  Like Dora Maar's Pere Ubu, or Louise Bourgeois' Spiral Woman', Morton would call them ‘weird’, 'a flicker of a dark pathway between causality and the aesthetic dimension, between doing and appearing.'