Starting in 1977, use of recurrent themes of danger and unease were augmented by Aycock's growing interest in metaphysical issues. Her sculptures now excluded viewer participation and looked more like theatrical stage sets; and explored combinations of science, technology, and spirituality. "The Beginnings of a Complex" (1977), utilizing architectural façades and windows, was featured at her gallery installation for Documenta 6 as a symbol of this stylistic shift. "The Machine That Makes the World" (1979) reiterated this shift and marked the beginning of Aycock's work in large-scale sculptures and public installations over the next several decades.