Saar was raised by her Aunt Hattie, who influenced her identity as a Black woman. Saar described her Aunt as a woman with dignity and poise, which impacted her depiction of the Black female body. This impact is evident in a work Saar dedicated to her Aunt titled, "Record For Hattie", 1972. Saar's rejection of white feminism initially pushed her artistic focus on the Black male but in the 1970s she shifted her focus to the Black female body. "Record For Hattie" is a mixed media assemblage made from an antique jewelry box. Inside the top of the jewelry box is a broken picture frame containing a faded picture of a woman, representing her Aunt Hattie. Surrounding the picture frame rose materials are sewn along with a red and white star and crescent moon pendent. In the bottom of the jewelry box there is a metal cross on the right side, a red leather wallet in the middle, on top is an image of child, and on the left there are sewing materials. During the 1970s Saar responded to the racism, fetishization, and eroticization of the Black female body by reclaiming the Black female body. Saar's work resisted the artistic style of primitivism, as well as the white feminist movement that refused to address issues of race. Saar's work is a result of the convergence of Black power, spirituality and mysticism, and feminism, as seen in "Black Girl's Window", 1969. "Black Girl's Window" is an assemblage piece made from an old window, in which the painted silhouette of a girl presses her face and hands against the pane. Above her head are nine smaller window panes arranged three by three, which display various symbols and images, including moons and stars, a howling wolf, a sketched skeleton, an eagle with the word "love" across its chest, and a tintype woman.