Although American studio artists in the 1950s thought of themselves as designer-craftsmen, many influential studio glass artists in the late 1960s, 1970s, and 1980s attempted to shed their relationship to craft by looking to contemporary art rather than design. With an approach to aesthetic, process, and intent that was vastly different from that of the design world (with the exception, maybe, of Memphis), studio glass had very little relationship to design until recently. Katherine Gray is interested in design, and much of her work uses traditional functional objects as a point of departure. She made these nesting bowls, which are inspired by the Wonder Bread wrappers of her childhood, as a design that could be produced by others.