tends to shoot each actionless room from an elevated vantage point near one wall so that the far wall is centered within the resulting image. From her earliest creations, she has been interested in representing public spaces such as museums, libraries, national archives or opera houses devoid of all human presence. Höfer’s imagery has consistently focused on these depopulated interiors since the 1980s. Höfer groups her photographs into series that have institutional themes as well as geographical ones, but the formal similarity among her images is their dominant organizing principle. In her Zoologische Gärten series (1991), Höfer shifted her focus away from interiors to zoos in Germany, Spain, England, France and the Netherlands. Implementing her typically descriptive style, Höfer’s images again seek to deconstruct the role institutions play in defining the viewer’s gaze by documenting animals in their caged environments. In 2001, for Douze-Twelve, commissioned by the Musée des Beaux-Arts et de la Dentelle in Calais and later shown at Documenta 11, Höfer photographed all 12 casts of Auguste Rodin’s The Burghers of Calais in their installations in various museums and sculpture gardens. From 2004 to 2007, she traveled the world to photograph conceptual artist On Kawara's iconic Date Paintings in the homes of private collectors. In 2005, Höfer embarked upon a project at the Musée du Louvre, documenting its various galleries, examining not only the sacred art they exhibit but also their individual design, arches, tiles and embellishments, with spectators and tourists entirely absent. Major exhibitions Höfer’s first solo exhibition was in 1975 at the Konrad Fischer Galerie in Düsseldorf. Since then, Höfer has had solo exhibitions in museums throughout Europe and the United States, including the Centro de Fotografía at the Universidad de Salamanca, the Galerie de l’École des Beaux-Arts in Valenciennes, the Kunsthalle Bremen, the Louvre, the Kunsthalle Nürnberg, the Kunsthaus Hamburg, the Museum of Contemporary Photography (MoCP)), the Museum Folkwang, and the Rheinisches Landesmuseum Bonn She has also had an exhibition at the Portikus in Frankfurt am Main, She was included by Okwui Enwezor in Documenta 11 in Kassel in 2002. In 2003 the artist represented Germany with the late Martin Kippenberger in the German Pavilion at the Venice Biennale, which was curated by Julian Heynen. The first comprehensive North American survey of her work was shown under the title Architecture of Absence at Norton Museum of Art in 2006. That same year, she had a