Eine ganz Hübsche (1990) exemplifies Oehlen’s early synthesis of figuration and abstraction. The flattened blue silhouette, juxtaposed with muted grey and olive forms, evokes a tension between sensuality and detachment. With deliberate awkwardness, Oehlen disrupts aesthetic expectations, transforming the female form into a site of critique and ambiguity. The work encapsulates his enduring inquiry into the contradictions of beauty, desire, and the act of painting itself.