Our copy of Ola Billgren’s “Collages 1964–1985” is missing the front photograph that was originally mounted in the embossed niche of the cover. The image has detached and disappeared, leaving the book with a strangely fitting absence.

Billgren’s work already moves away from the visible shock of collage. Instead of proud seams and abrupt montage, the image dissolves into painting: layering, blurring. Tonal interference, which reads like indifference.

Collage is internalized. The fragments no longer clash. There's sedimentation of something having stakes in visibility.

The result is slow looking. Painting becomes an image about image itself.