Painting one’s own hand is a unique challenge, and, historically, was impossible without the use of a mirror to reflect the shape of a body part that had to do double duty as both tool and object of study. Today, it is quite a different project to capture the contours and specificity of the hand, though one still relies on the hand to do it, whether that is clicking a camera, pointing a mouse, or simply pressing a touch screen. At present, the hand is not so much a body part as an input mechanism for external devices, a tool that proceeds according to strict instruction for operating technical media. In Eliza Douglas’s edition for TEXTE ZUR KUNST, each a unique painting, the artist’s hand is severed from the body, captured in the glow of a light we cannot see. Douglas paints with such clarity and precision as to not miss the crevices and folds of her hand that open out like a landscape, or a mountain crevasse, in which a tiny white rectangle is supported. In contrast to the incredible realism of the hand, what is held in the palm (yet another painting, it seems), is something more abstract and colorful. Painted in oil on wood, each edition contains a different image on the white space of the rectangular support, revealing a range of representational modes in which each exists alongside one another, without contrast or resolution; in short, where everything, from gestural abstraction to figurative realism, seems possible.