For over a decade, Miriam Cahn’s work has contributed to the creation of a critical and imaginary/expressive space for approaching the unstable and shifting parameters of female subjectivity. A vocabulary of metaphors and symbols was developed as a kind of dictionary to a reality which is both experienced and understood as sexually coded. Cahn’s recent work, shown under the title Verwandtschaften (Family relationships; all works 1990) continues her investigations into women’s relation to language.

As one enters the gallery, two series of very different images face each other on opposite walls of