Given the image on the invitation for Maria Hahnenkamp’s recent show, one could easily have been disappointed by the work in the gallery. The card depicted a young blonde woman, heavily made-up, her lips slightly parted and her gaze focused on something mysterious and inviting outside the picture frame. In short, this was a provocative image of an “attractive” and “erotic” woman, reminiscent of media and advertising images. Inside the gallery one’s first impression was radically different: white walls, white frames, white pictures, almost suggesting that one was about to enter into a formal