Two nearly naked, life-size men are looking at us. The expressions on their faces can say or mean anything. Is it arrogance, disinterest, or plain boredom? One is sitting on a chair, legs stretched out on a barstool. The other is leaning toward his friend. Or is it his friend? And what’s wrong with the hand of the seated man? It looks like blood is being tapped from his fingers into weird objects. In Kati Heck’s paintings things are suggested that must be interpreted or even projected by the viewer. The interaction between the two men in Chapeau, 2005, seems more like that of partners than, say,