A once-folded poster of Madonna from a photograph taken by Steven Meisel for her 1993 single ‘Bad Girl’ is pinned in the top two corners to a white wall. Photographing found objects and appropriated imagery, Anne Collier questions the ways in which these images are presented and perceived, aiming to elicit ‘a sense of emotional or psychological uncertainty’ through her image-making process. In Folded Madonna Poster (Steven Meisel), she transforms the object into the subject and asks us to join her in analysing the process of perception and presentation. The title of the work highlights that this is a picture within a picture; we know both what we are looking at (a folded poster of Madonna) and by whom the image was originally taken (Steven Meisel). In acknowledging these two aspects, Collier draws our attention to how this image was initially presented and consumed. Influenced by the work of Cindy Sherman, Laurie Simmons and other ‘Pictures Generation’ artists, Collier re-contextualises popular imagery and visual clichés. She challenges how photography structures our ways of seeing by drawing our attention to these mechanics as seen in the present work.