“Marilyn Monroe” plays with the Turkish phrase balık etli (“fish meat”), used to describe women with Duru Bebekoğlu’s body type (as well as Marilyn Monroe). Prints of her body, captured before and after relocating to London, are layered with scans of fish—anchovy for childhood, sea bass for a Westernized adulthood. Both satirical and tender, the work reflects her wider use of humor and wordplay as tools to question how language, migration, and womanhood shape identity.