But I happen to be particularly fond of certain existentially inclined works, perhaps most of all Statues, 2012, a late work which epitomizes the war of the sexes, with a certain frank brutality, and Woman with Green Hair, also 2012, which epitomizes the femme fatale, and echoes Matisse's fauvist Woman with the Hat and Portrait of Mme Matisse/The Green Line, 1905, painted more than a century earlier. Scandalously audacious, the former because it was painted with “seemingly wild abandon,” the latter because of its face, which resembled a “primitive mask,” as art historians have noted, both were among the visually violent – some say barbaric – works that inaugurated modernism. Reichert's paintings show that traumatizing audacity can still make a strong psychoaesthetic point.