In the European art world of the 1960s and its new formations, we find some productive love couples in gendered constellations. Pontus Hultén (1924-2006), a museum director, and Anna-Lena Wibom (b. 1933), a film producer, lived together between 1959 and 1973, at a time when Moderna Museet in Stockholm was gradually placing itself on the international map. The article discusses the couple's collaboration studied through archival documents, publications and Wibom's own account in interviews. Wibom worked with the financing, production, and presentation of exhibitions, central to Hultén's and the museum's networking nationally and internationally. She was deeply involved in the production of Niki de Saint Phalle's She (1966) and in the installation in Stockholm of the sculpture group Paradise (1967-1971). Hultén also developed international contacts with the American art scene during this time. Wibom contributed essentially, already at home in an American film context after studying there in her youth. The article presents, furthermore, how Wibom attests to a fluctuating position between performative appearances as “the mother” in works by Tinguély and Saint Phalle and the named productive role in the work of Hultén and Moderna Museet.