For Charlotte Posenenske, 1967 marks an important milestone in her oeuvre. Using industrial materials like galvanised metal sheets and creating forms that resemble ventilation pipe systems, Posenenske turned to prefabricated building materials in order to erase or obscure the artist’s gesture, situating her work in the centre of the Minimal Art movement. Without any given instructions by the artist, the work may be assembled and reconfigured by the owner or curator in different shapes each time the work is shown. The participatory nature and variability of her work expressed the artist’s desire for social change and political action.