Influential German conceptual artist Rosemarie Trockel has employed a wide range of socially charged genres and mediums throughout her impressive career. New York Times art critic, Roberta Smith, writes that Trockel is “a subversive anti-painting painter and a dedicated, non-ideological feminist.” One can see how Smith’s comment is applicable when looking at the work Mid-March, a careful, yet witty, examination of male-dominated twentieth-century abstract painting. Instead of using paint, Trockel uses acrylic woven fibers as the medium for creation, disregarding and simultaneously embracing painting. The work is direct, simple, and modern, creating a sophisticated relationship between its stark composition and the fiber material customarily reserved for feminine craft. Rosemarie Trockel was included Il Palazzo Enciclopedico, 55th Venice Biennial in1999, where she presented her work at the German Pavilion. Her work has been the subject of solo exhibitions in Madrid, New York, London, Brussels, and Lisbon. Other recent solo exhibitions include Post-Menopause, Museum Ludwig, Cologne; Deliquescence of the Mother, Kunsthalle, Zürich.