Trained as a fiber artist, Hassinger began using industrial materials like wire rope, plastic, and newspaper (items often associated with labor, infrastructure, and disposability) to craft sculptures that evoke organic forms such as bushes, vines, and bodies. Her manipulation of these materials reflects both a critique and reimagining of the modernist legacy: while modernism often eschewed identity politics, Hassinger reclaims the vocabulary of abstraction to speak about race, environment, femininity, and interconnectedness.