Ohne Titel (Who’s Got The Big Picture?) from 2006 is a prime example of Johanna Kandl’s established modus operandi, in which she successfully weds the tradition of historical painting with the gloomy reality of twentieth and twenty-first century new media. In this large-scale canvas, the glaring poverty endured by many subjects of the former Soviet satellite states contrasts sharply with the glitzy nouveau richesse enjoyed by those whose transition to the New Capitalism happened much more smoothly (such as in this anonymous city in ex-Yugoslavia).