My initial reaction to Barbara Probst’s deconstruction of a space is to construct it back together — naturally. In doing so, I as a viewer become sensitized to the undercurrents of the medium, as well as gain a visually understanding for its strong relation to time and space. Any of her images displayed on their own would yield no reason to doubt the validity of their content, yet in choosing to group images of intertwined perspectives, Probst allows her viewers to see the deceptive nature of photography. Furthermore, in such a context the work does not simply display multiple subjects, but rather an actual space. The viewer is made to understand that any space has an infinite number of perspectives – what most interests me about the work. Finally, it is obvious that the perspectives are carefully composed given that they all appear highly aesthetic. This is something that I view as a marketable trade off, as no space is visually pleasing from all perspectives.