Last year’s Documenta wasn’t the first on which Charlotte Posenenske (1930–1985) left a mark. She was present at Documenta 4, in the summer of 1968, though not as an exhibiting artist: She distributed leaflets criticizing art for being “affirmative” and “veiling reality.” Earlier that year, Posenenske had decided to end her artistic work and instead study sociology; she later published papers on standardized labor processes.

Shortly after the end of Documenta 12, in 2007, where Posenenske was among those artists repeatedly appearing throughout the various sites of this idiosyncratic mega-exhibition,