While Meckseper’s earlier vitrine works commented on contemporary consumer culture using the shop window as an example and focus point for civic unrest and protest, documented in her film works, her recent steel and glass vitrines, allude to the political dimension of early modernist Bauhaus display architecture and design between World War I and II in Weimar Germany. Meckseper melds the aesthetic language of early modernism with her own objects and paintings and footage of historical and political undercurrents, taking on a similar function as Mies van der Rohe’s well-known designs and glass structures for art collections: art and art history are here on display. Often contained within Meckseper’s displays are paintings that nod to 20th century European modernist art, such as Russian constructivism.