Just four years after Hannah Villiger’s death at the age of forty-six, the Kunsthalle Basel dedicated an exhibition of considerable scope to the Swiss artist, accompanied by a detailed monograph, including a catalogue raisonné of her works. Nevertheless, this presentation was not a full retrospective, eliding as it did her early sculptural works of the ’70s, which still followed in the arte povera tradition. Instead, it focused on her photographic oeuvre, which treated her own body as its point of departure. But even before that work, which was the subject of many a solo exhibition and made