With her gritty, uningratiating facture, her unruly mélange of blunt imagery and vigorous abstract mark-making, and her equally wayward blend of sarcasm and naïveté, Oda Knudsen could have easily fit in among the De Unge Vilde (the young wild ones) who emerged in Denmark in the 1980s, somewhat in tandem with German artists such as Werner Büttner or Martin Kippenberger. In fact, born in 1938, she was a generation older than those Danish painters (among them Claus Carstensen, Inge Ellegaard, and Berit Heggenhougen-Jensen). While “Kredit i flammer” (Credit in Flames) was Knudsen’s first posthumous