The worldwide interest in the work of Charlotte Posenenske (1930–1985) aroused by the celebrated rediscovery of her art at documenta 12 focuses primarily on the technoid objects that earned this minimalist conceptual artist her renown, with only occasional glances at her paintings—which are seen as preparatory studies. The time has come for a dedicated examination of these works. According to the artist’s own statements, her pictures drew inspiration from Cézanne, Mondrian, and El Lissitzky. Her reliefs constitute the seamless transition—though she saw it as a clear break—to the objects. Which artistic positions may have influenced the early grids, the floating structures, and the impulsiveness with which she flung paint on the canvas in the works she created using a palette knife? In which ways does her art bear similarities to the works of her contemporaries? These are some of the unanswered questions Philipp Kaiser’s essay begins to address.