Visually, "Inflorescence" explored the interplay between images and patterns and used op art methods to foil the stasis of two-dimensional works. The exhibition consisted primarily of multiple silk-screened paintings that presented photorealistic portraits of Tate overlaid with stark, waving graphic lines. Lazzarini used this image–pattern conflict as a way to emphasize the limitations of vision. As the viewer approached the works, the figurative elements retreated and the patterning came to the fore, producing an optical grating effect. Similarly, when the viewer's vantage to the works changed, the lines of the paintings would appear to oscillate.

Suspended throughout the gallery space were ¾-inch, three-strand white nylon ropes—the type used to tie up Tate during her murder—adding another, more physically interactive layer to the viewer's experience, and a grounding element to counter the disorienting and illusory effects of Lazzarini’s paintings.

In addition to the paintings and ropes, the exhibition also included a sculpture, based on a circa-1960s Hollywood Regency gold-toned wall decoration of dogwood branches in bloom—the show's lone true inflorescence, albeit a disturbingly altered one. "The sculpture is enlarged, out of scale and distorted to create a tangled oddity," he says. "The idea was to conjure something from a home in that era." Entitled creepy crawl, the work takes its name for the ritualized acts performed by the Manson family before the murders, wherein they would enter homes at night and rearrange their objects, and addresses the ragtag cult's infringement upon the rarefied spaces belonging to the Hollywood elite.

"The late '60s mark the end of an innocence in this country." The tragic murder of film actress Sharon Tate still leaves a lasting impact.