In Man Trap, Belanger references a 1969 Wonder Bread ad in which women are depicted proudly presenting sandwiches they’ve made—marketed as “Boy Traps.” Belanger engages in a sharp and layered critique of the aesthetics of capitalist consumption and production, subverting them through her sculptural language. Playing on the seductive premise of the original ad while also exposing the mechanisms of entrapment—social, economic, and psychological—imposed on women through patriarchal capitalist structures, Belanger reimagines symbols of domesticity not as benign nostalgia but as loaded cultural artifacts.