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This early videotape documents the work process with the video camera, whose images can be instantly inspected on the monitor and then altered. Ulrike Rosenbach also uses the screen area as a support, both in the literal and metaphorical sense, for drawing by superimposing the camera and monitor’s own reproduction over the sketch of a hood on a pane of glass. This appropriation and critical processing of traditional images of women is underscored by the historical reference to portraiture.