The tension between revealing and concealing is a common thread running through the show in The Hague. The women’s poses in the paintings often refer to compositions by famous artists like Manet, Vallotton and Picasso, though Brice is rarely explicit in this. She lifts figures from their original context, offering new perspectives on the art historical tradition of the female nude. No longer submitting to the male gaze, these women self possesed. As Brice herself says, “This transposition rescues previously isolated figures of women from the lonely confines of a renowned art historical painting and gives them a new existence”.