In a collaborative process made simple, Albert Oehlen provides the photographic material and both artists take turns painting around it. None of these works are immediately recognisable as Albert Oehlen or Meese, and that’s what makes them so good. Like a nuclear fusion, the two become one; an invincible super-artist refining the best qualities of both.

The Greeting is a ridiculous portrait of a lumpy gangly-armed housewife waving about a feather duster/penis, teetering on glamour model’s legs. They render her almost obscenely repulsive, but the sexual delusion of the male gaze is inevitable: the artists’ collage in a mirror to peek up her dress.

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