Between 1969 - 1971 Nicola made 3 known iterations of "Little TV Woman: I Am the Last Woman Object”, each one was different in scale. She made one related work in 1970 called "Woman Pregnant from TV Cabinet" which replaced the TV in her stomach with shelves.

The TV woman series is one of Nicola L.’s most iconic ‘functional sculptures’, bringing together sculpture, furniture, participation, feminism and media. The female body is transformed into a functional object: the breasts become drawers and a television monitor replaces the stomach. She frequently traced real bodies before exaggerating and simplifying their contours. The catalogue for Nicola's first museum survey show at the Sculpture Center, NY curated by Ruba Katrib, in 2017, a year before Nicola died, describes the work as a “soft female form”. Katrib connects the work to the burgeoning feminist movement and describes it as "a critique of the commodification of the female body through new technological means". and that by "offering while denying’ interaction, Nicola L. exposes changing rules of social engagement in the 1960s and 1970s".

The sculpture has become increasingly central to institutional recognition of Nicola L.’s practice: “I Am The Last Woman Object” was the chosen title of her 2024-2025 major European retrospective at Camden Arts Centre travelling to 3 other venues including the Kunsthalle, Vienna. TV woman is also included in Nicola L.'s current retrospective at MUHKA, Antwerp.

In this work, Nicola L.’s own voice is heard in French while the monitor displays the text in English:
“I am the last woman object. You can take my lips, touch my breasts, caress my stomach, my sex. But I repeat it, it is the last time.”
The central paradox is that Little TV Woman invites and refuses interaction at the same time. Its drawers and soft material suggest use and touch, while its spoken statement establishes a boundary against continued access. Rather than merely representing objectification, Nicola L. makes objectification physically operative: the female figure can be opened, handled, used and watched.

The work was first displayed in 1969 in the window of a Paris jewellery boutique: a sculpture addressing the commodification of the female body placed within a commercial shop-window environment structured around display, desirability and possession. Nicola L. recalled that when she also exhibited the work at Daniel Templon, Paris (1969), she felt she was the only artist working specifically with these “corps-objets-meubles-sculptures” — body-object-furniture-sculptures. This work exists within Nicola L.'s broader exploration of anthropomorphic “functional art”—that is, domestic objects shaped like body parts.

Oliver Lanzenberg, Nicola L.’s grandson, provides an intimate account of the work in his text “Living with Nicola L.” He recalls that Little TV Woman lived in his father’s childhood bedroom in Paris and that, as a teenager, his father would hide dirty dishes inside its breast drawers. When Lanzenberg encountered the work again at Sculpture Center in 2017, he remembered wanting to operate the television and drawers as his father had done. This family history is valuable because it demonstrates that the work’s functionality was actually activated in domestic life. Lanzenberg also recalls that Nicola L. was not precious about the functional sculptures, reinforcing the fluidity she maintained between artwork, object and everyday life.

Born to French parents in El Jadida, Morocco, in 1932, Nicola L. studied at the École des Beaux-Arts and spent most of her life between Paris, Brussels, Ibiza, and New York, until she passed away in Los Angeles in 2018. Outside of her survey shows cited above, she was included in important group exhibitions, such as Elles, Centre Pompidou, Paris (2009); the Liverpool Biennial (2014); The World Goes Pop, Tate Modern, London (2015); Made in L.A., Hammer Museum, Los Angeles (2020).

Her work is held in the public collections of the Centre Pompidou, Paris; Guggenheim, Abu Dhabi; Cooper Hewitt, Smithsonian Design Museum, New York; Design Museum Brussels; Frac Bretagne, Rennes; Gallery of Modern Art, Glasgow; M HKA, Antwerp; MAMCO Genève; and Museion, Bolzano among other institutions.