visualizes the creative power of destruction and thus continues a thought that Emil Schumacher had already expressed, namely that the negative power is just as indispensable for creation as the positive one. This dialectical interplay is carried to its conclusion in Reinbothe’s work. The act of deconstruction here dissolves the structure in which the illusionistic panel painting is trapped and concludes the process of construction in a final way. This is done by the artist stripping the canvas, crumpling or folding it, disassembling the stretcher or even breaking it down into small pieces together with the painted canvas, thus creating a new, unfamiliar order. If she thus overrides the mode of reception shaped by the panel painting, in the same breath she exposes the view of the material form behind the illusion embodied by a pictorial work in a classical context.