The wedding season in urban cities in Pakistan 'attacks' families and neighborhoods with the ferocity of pagan religious pageantry. Girls from all income groups are induced into believing that marriage and kids are the only worthy milestones in life and the hysteria in reaching this goal gains epic proportions. The underlying sentiment to the ritual is invariably just material gain. Khan believes the term 'hand in marriage' is viewed as the offer of valuable ornamentation rather than the worth of the person.

Due to the economic fallout in the country, there are increasing reports of robberies, especially ones at wedding parties where burglars know they will find a treasure trove of jewelry to steal. The artist had also recently learned of a similar episode in which the bride's hand, laden with jewelry was sliced off by the thieves in their haste to escape.

Events of festivity in Pakistan are becoming more shrouded by insecurity and fear. This has pushed the artist to create a body of work where she has used air-gun lead pellets to recreate bridal ornaments to tie in with her satirical avowal that girls have become 'beautiful targets!'