In the 19th century, French neurologist Jean-Martin Charcot sought to map the different phases of what he called hysterical attacks. He believed hysteria was a female affliction, caused by psychological trauma, even though men could also experience the same symptoms. Charcot’s research was documented in a series of photographs, which later inspired Louise Bourgeois to create a series of works in the 1990s and beyond. Bourgeois explored the image of the curved body in a hysterical fit, which she referred to as the "arch of hysteria."

Her first piece featuring this motif was a headless bronze cast of her long-time assistant, Jerry Gorovoy. The sculpture portrayed hysteria as something masculine, challenging Charcot’s view of hysteria as a purely female condition and creating a powerful image of female strength.

Later, Bourgeois shifted her approach, creating several versions where the gender became more fluid. She moved from the hard, masculine material of bronze to more feminine textiles to highlight vulnerability. One of these works is Arch of Hysteria (2004), which features the torsos of a man and a woman, entwined into a single body. Suspended in mid-air, the piece is made of loosely woven knit fabric, stitched together in a patchwork-like technique. The visible seams act as scars, illustrating how traumatic experiences leave deep marks, both physically and emotionally.