Although Ruth Asawa considered her work in the San Francisco Public Schools as part of the Alvarado School Arts Workshop (1968–82) one of her most important contributions as an artist, it has played little to no role in art history’s assessment of her legacy. Examining the most sculptural of this work—a multifaceted engagement with geodesic structures, drawing on her longtime friendship with R. Buckminster Fuller—I argue that this erasure challenges art history’s exclusion of art education from postwar modernism. These objects are best understood as part of a mother-led countercultural aesthetics that seeks to overcome art historical distinctions between the fine arts, crafts, and education.