[5] During the 1960's Wiggen produced a series of painted works based on images of early computers and electronic components.
She worked in gouache at a small scale and in oil paint, and then arrived at a technique where she used gauze bandages to create areas of texture resembling electronic components such as soldered wires and transistors.
[1] Writing in Artforum magazine, critic Ina Blom states that Wiggen's paintings open up a narrative on "girls and technology" referring to "the long history of women as members of the workforce in the electronic industries, for instance, their labor in this capacity recalling the disciplined, quiet meticulousness associated with women’s crafts—the countless generations of nimble hands and keen eyes engaged in the most intricate needlework or weaving—represented today by images of female workers in factories in China or Vietnam assembling tiny mobile-phone components on grueling twelve-hour shifts."
She goes on to write that Wiggen's technical abstractions bypass the "human sensorium" to convey an engagement with the "unknowable" aspects of electronic technology, revealing its "deepest secrets.
[11] In 2022, a monograph on Wiggen's work was published with texts by Daniel Birnbaum, Sabeth Buchmann, Caleb Considine and Peter Cornell.