Simmons' tableau, titled "So Tired, So Wired," offers a visual discourse on urban dynamism and the effervescence of pop-cultural lexicon, rendered in luminous chromaticity. The assemblage, reminiscent of a collage, positions a vintage automobile alongside emblematic symbols such as a wild cherry Pepsi can and a city skyscraper. Intertwined within this urban mosaic, sensuous elements—a décolletage and rouge lipsticks—impart undertones of femininity and sensuality. The pervasive adage, "time is money," echoes across the canvas, underscoring the perennial tension between temporal luxury and the economic wherewithal to navigate one's aspirations. Through strategic placements of luxury motifs juxtaposed with monetary insignias, Simmons beckons viewers to reflect upon the rarity of a paradigm where both temporal abundance and affluence coalesce harmoniously. With a nod to James Rosenquist's monumental contribution to the Pop Art movement, Simmons amalgamates consumerist elements with quotidian artifacts, forging a compelling critique of the 1980s socio-cultural milieu.