Fusion as a sculpture had an important place in Beatrice Wood's story of arrival as an artist. She selected the piece to illustrate the final page in her autobiography "I Shock Myself" and including the sculpture in a prominent position in Donna Granata's photo portrait.

The two embracing figures refer to Constantin Brancusi's The Kiss, an artist whom Beatrice Wood knew. Wood brings her spirit to the idea of an embrace with softer curvilinear profiles, eyes arched in bliss, and a matte copper glaze on ceramic that she developed during her years of experimentation. 

Wood and Brancusi met in 1915 or 1916 in New York at the introduction of Marcel Duchamp and attended the salon of Walter and Louise Arensberg, and they met again at Brancusi's studio in Paris in 1958. Additionally, Wood remained close friends to the Arensbergs who were the owners of the 1906 version of The Kiss. Wood met with the Arensbergs in Los Angeles and Ojai until their deaths in the early 1950s. Wood relied on the couple for wise counsel and laughter. 

"Facing the door was the fireplace, hidden by another Brancusi - two marvellous torsos of lovers in stone, forever caught in embrace." - I Shock Myself, p.112

All wasn't always so lofty with the Arensbergs, the artist would visit the couple to tell stories of her life and loves:

"They wanted to hear about every new man I met and insisted that I bring each one to meet them. I embellished my tales and enlarged the flirtations; I so appreciated the wealth of culture they brought into my life, I wanted to bring spice and entertainment into theirs. I think my daily absurdities were a relief to them after listening to some of their more highbrow visitors." ibid., p.113