It was serendipity that brought me to Post-Partum Document (1973–79), one of Mary Kelly’s most expansive works. I was 21 and studying political science and international relations. Disillusioned with my course, I would take regular train journeys from Dresden, where my university was, to my hometown, Berlin, in search of a way out, some kind of excuse that would propel my life elsewhere. I was curious about art, but my understanding was limited to that offered by the magazines I would pick up at random. It was one such publication that introduced me to Kelly.