Sarah Morris has always placed herself as both the protagonist and author of her work, generating a sense of dizzying simultaneity that she translates into motives and resources for her paintings and films, all of which add up to topologies of a moment in the life of power and style while also challenging prevalent structures of dominance. Her bold diagrammatic paintings create a new image of place utilizing color, fragmentation, and perspective to evoke the rapid pulse and serialism of late capitalism. As part of her artistic practice, Morris has placed herself in many locations and situations, ranging from the White House to the Beijing Olympics, Los Angeles’s film industry, Las Vegas’s casinos, and the global corporations headquartered in Manhattan. For “Sauna [Ecosystem]” (2023), Morris’s fifth edition for TEXTE ZUR KUNST, the artist has situated herself in the titular sauna. Her characteristic geometric structures and shapes overlay a self-portrait, taken as she perspires, bathed in infrared light and partially sheathed in black Saran Wrap. The factory-like composition morphs here with the seduction, and facial expression, of the selfie – a genre of self-representation in the digital space that encourages the simultaneous proliferation and collapse of subjectivity.