In order to create the exhibition in Milan, Kimura spent a period of time in residence at Gluck50. She has conceived a sculptural installation based on life-size photographs found in Milan and New York, using them to compose a mix of photographic images from different periods and settings. Mounted on sheets of glass, the photographs are placed alongside empty glass panels and a marble column. What makes these glass supports so unusual is their strength and thickness, as well as their shape, which recalls the frames made by Fontana Arte. The photographs are of interiors, some of which are framed by wooden doors left ajar, leading us into intriguing, enigmatic worlds outside. In terms of their composition, these images suggest parallels with Renaissance paintings, in which three-dimensional landscapes recall Alberti’s concept of a “window on the world.” The door motif has already appeared in some of Kimura’s previous works, such as post-disembodiment (origin) of 2006, in which she cut the picture of a door out of its original arch and made a copy of it, which she then placed in the installation as a separate element. In this photograph, the door—which would normally convey an idea of depth —is thus transformed into an object in its own right, depriving the image of its own potential for illusion. Similarly, Kimura creates an illusory installation in the exhibition space, drawing the viewer into an ambiguous game of seduction and heightened sensitivity, while revealing the eloquent nature of the images.