After fifty years of intense creative work, Georg Baselitz looks back at his own early, groundbreaking works with his most recently produced Remix Pictures . But although the motif of both these pictures – the monumentalised figure of the painter as a prototype acting, suffering character – is identical, its content and form are formulated in entirely different ways: while the paint of the earlier picture is applied thickly and opaquely on a black background, the white ground in the later image shimmers through the paint, which is applied like a watercolour-glaze. In 1966, the painter appeared with rucksack as the homeless, restless wanderer whose fingers are painfully constrained by brackets, whereas in the later painting these bonds become a tentative search for roots – perhaps his own – in the black ground. In accordance with the refined, relaxed humor of the painting, the roots here may be read as an upside down tree. The work thus emplifies Baselitz’ decision, made in 1969, to paint all his subsequent pictures upside down, clearly separating the representational motif from the painting process.