Marilyn Minter’s works blur the boundaries between highbrow and popular culture, often drawing on the sex, glitter and glamour that characterises pornography. This certainly applies to this work, Green Pink Caviar, which can be viewed as a small cinematic statement. Like a lustful, grotesque, sexual, voyeuristic hallucination, a mouth and tongue are caressing a glass plate and licking something colourful and sticky. It is as if the mouth and tongue are trying unsuccessfully to penetrate the space, from which we as spectators are viewing the scene. Instead, we are spectators, contemplating a voyeuristic scene, which intimidatingly and confrontationally seems to direct our attention to how we see, rather than what we are seeing. We are not voyeurs. We are watching voyeurism. As a counterpart to this film work, Minter has made billboards that were put up in Chelsea, New York. She was also one of the first artists to buy expensive TV advertising spots for her art. Today, Minter is regarded as an artistic activist who, through films, erotic paintings and photographs, continually stretches the limits of the content that pictures can contain.