Delivering this book of odds and ends, Linder remains the ultimate heroine of the artistic underworld. Her actions, spoken bits and visual pieces - no matter how self-indulgent or egocentric, provide funny, surrealist or simply brutal messages; although she aims at abstract forms of expression, there is always a clear message - we don't seem to reflect these momentarily into direct translation, but the more we look at these works, more of it transforms - very simple, yet very complex. It's all about subjective perception. And here she offers a dozen triggers for our ever-demanding imagination.
In Linder's world, there is always a woman placed central within the entertainment world dominated by men. She explicitly juxtaposes pornography and domestic atmosphere, openly criticizing sexual exploitation, reflecting the irony of its issues under a strain of man-woman relationship. Whether romantic or sarcastic, Linder's early photomontage works create some unexplainable fascination with such dilemmas. Not to mention her own self being treated as an 'art object' - some of her most evocative portraits here, appearing wrapped up in cellophane - through it shines the ultimate beauty of a woman suffocating against standard repressions of the 'system'...
Along with personal drawings and xeroxed messages, Linder provides a fine balance between her then-and-now post-modernes; the most famous is of course a selection of above-mentioned image collages, but her video (which is sadly a mere documentation here) and eye-soothing monochromatic photography (partially dominated by Morrissey portraits and artwork for his record sleeves), give a solid, obscure presentation.