2003 marked the launch of the first in a trilogy of ambitious solo exhibitions Inez and Vinoodh staged at Matthew Marks in New York, The Now People, which became more radical and experimental in format as they progressed. The first, Part I: Paradise (2003), consisted of three large-scale black and white portraits that alluded to a contemporary Garden of Eden, while the 13 works that made up Part II: Life on Earth (2005) investigated political spiritualism. This show saw Inez and Vinoodh carrying motifs from their commercial imagery into their artwork, both in a vast frieze of images created in collaboration with M/M (Paris) and in the inclusion of several photosculptures drawn from their ongoing collaboration with Inez’s uncle, the esteemed sculptor Eugene van Lamsweerde. This repurposing of existing photographic imagery—whether through graphic innovations such as the 26 letters cut from model portraits to make up the silkscreen poster series created with M/M (Paris), The Alphabet (2001), or by electing to exhibit their imagery in pop cultural forms such as stickers or T-shirts — has become a recurrent strategy in the exhibition presentation of Inez and Vinoodh’s work over the past decade. The third installment of The Now People, Part III: The Women (2008), at the Andreas Grimm Gallery in Munich, Germany, focused on female archetypes. This show featured an installation entitled The Séance; a collection of silk-screened photographs pierced by metal as if to make thoughts, energies and emotions physical and tangible.