For the young, New York-based painter Jeanette Mundt there is no image that cannot be subject to a playful ironization in paint. From her husband’s paintings of his own tattoos to American Olympians to her own body in various states of undress, Mundt selects an image and then hunts the free-floating picture back into the material flux of the painted surface. Images that could be found in social media channels are slowed down, paused, and reworked to often great comedic effect. But Mundt’s sharp-wittedness is technical, too. She is a highly skilled painter, even if skill today is not something easily recognized or praised, especially in the world of painting.For this edition, Mundt the painter has created a photograph in which one of her paintings stars as part of a still life composed of Altoid mints, candles, and wilting roses. At the center is a tondo portrait of woman in purple undies, hanging on a wall whose flesh-colored paint matches the cropped thighs and small torso section. The arrangement is illuminated by a raking light that emanates from a window somewhere outside of the picture, whose structure is cast in shadow over the painting. Here, Mundt gives us a perfect inversion of her usual practice: painting now provides the source material for a photograph, and not the other way around.