Transcending traditional conventions of photography, Robert Heinecken’s work cleverly challenges notion of sexuality, gender, economic status and an array of other socio-cultural issues. In Recto/Verso Heinecken sourced images from popular magazines and then placed them on light-sensitive paper. Upon exposure, both sides (recto and verso) of the page transferred to the paper, collapsing disparate images onto a single frame. The intersection of the two images had a variety of effects that were heightened by their unexpected nature. Some seemingly innocent images were suddenly imbued with an unforeseen salacious undertone, whereas the sex appeal of titillating images was diffused by the humorous appearance of their banal counterparts. Indeed, the dialogue between the two images on a single frame begets visual hybrids that are at times absurd, at others awkward, and unfailingly engaging.