Lili Dujourie is an artist whose work has consistently belied appearances by reversing our expectations of the media used. In this exhibition, which included pieces made with fabric, granite, mirror, and steel, she challenged the viewer to go beyond the work’s facade and to penetrate its inherent ambiguity. American Imperialism, 1972, is an important early work. In a pale white room, one section of the wall is painted red. Leaning against it is a black steel plate. The piece simultaneously ignites and deadens the room with its magnification and negation of color. Its reference to American

In no other country is the tradition of painting as burdensome to contemporary artists as it is in Holland, and there is no other genre which respects traditional values as much as the still life. Whoever refers to specific parts of this tradition has to realize that he not only is stuck with an artistic but also with an exhausting moral baggage, which can offer hardly any relevant answers to current questions. Therefore, a contemporary painter who dares to tackle the still life anew has to have his senses tuned as much to moral as to artistic questions.

It has taken Erik Andriesse a lot of energy