Laughlin, who was raised Catholic, addresses the layered religious history of his native New Orleans in this work. He photographed an African American woman who was the leader of a “religious cult, in which there were some traces of Voodooism,” but who wears a Christian cross around her neck and a nun’s habit. He framed her under the archway of a temple such that the building’s shadow forms a sickle shape over her head, “suggesting the shadow of superstition.”