Susa Templin’s latest works appear to be at the point of collapse, held together by a delicate interrelationship between their parts. The constructions announce a certain monumentality through their pedestals and columns, which, however, are made of Styrofoam and cardboard and decorated with cheap materials. In (Column in a Coat), Susa pokes fun at the white columns, which have dominated architecture from Antiquity through Modernity. This white Styrofoam column is opened in the center with the three planar sides held in place by a web of wire at the top of the open end. Various photographs and wax paper hang from the surface and in the interior we see two photos placed at the base. They are both self-portraits, one showing the artist looking down and set above the second one, which is close-up of Susa’s upper legs, the view directed toward under her skirt. A major theme in the artist’s work is seen here: the liminal character of public and private.