At the same time that Driggs exhibited her Precisionist machine age works at the Daniel Gallery, she was also creating a series of important plant forms, both in pastel and oil, for the same gallery. In a group exhibition at the Daniel Gallery in 1924, "Chou" (collection of the Montclair Museum) a study of a cabbage, which was larger than life-sized, was displayed with works by Preston Dickenson, Andrew Dasburg and Thomas Hart Benton. The painting earned Driggs rave reviews by such prominent critics as Forbes Watson, who wrote," Elsie Driggs, a newcomer, is a distinct addition to the gallery's group, her painting of the spread out leaves of a cabbage being one of the most sensitive pieces of painting in the entire exhibition." Perhaps Driggs' finest plant form is "Cabbage" of 1927 (private collection), which depicts an uprooted American cabbage swirling in space. This work is slightly larger and more dynamic than "Chou." Here Driggs shows more interest in depicting the crinkly cabbage leaves with botanical accuracy. The abstract, brown and white shaded background recalls contemporaneous paintings by Georgia O'Keeffe, who Driggs was known to meet at least on one occasion.