The Window Paintings (1994‒95/2000) were based on an idea about what makes a painting a painting ‒ as seen through their frames. What would happen if the frame itself now became the painting? An experiment was made to find proportions where it is no longer clear whether it is a painted frame or a painting with a hole. Painting used to be connected to an old tradition, according to which an image represented a window onto the world. It asked questions about what we see through a window, namely, first of all, the sky (hopefully). What is “the image” here? Is it the painted surface, or what you see through the “hole” ‒ in general, the wall? In its square formats, the “hole” in the paintings corresponds to the proportions of traditional television screens (3:4); for the landscape formats to the widescreen ratio (16:9).