Kruger at the time was working in New York as a magazine designer, an experience that no doubt helped shape her ideas about how visual and mass communication influence people’s lives. These monochromes’ layers of text and found images are a study on the relationship between the two, while delivering witty commentaries on subjects the artist either invented or borrowed. Untitled (Now You See Us, Now You Don’t) (1983) features two hands underwater removing a sink’s stopper; the recipient of Untitled (You Are A Very Special Person) (1995), a glorified example of the trite advertising technique of making the viewer feel special, is none other than the Queen; Untitled (We Won’t Be Our Own Best Enemy) (1986) is a collage depicting the nightmarish vision of a gigantic hand closing upon a person having a turbulent

sleep. Kruger slogans are kind of mundane, but it’s uncanny how they reach new levels of meaning once attached to their new context. In times of Twitters, Facebooks and the sort, where virtually everybody is in a position to launch a slogan or to claim a second of someone’s attention, Kruger’s collages survive amazingly well. Wrapped in their trademark design, their message is all but diluted, preserving

their integrity and effectiveness intact.