József Agócs’s images are composites, comprising several layers, like so many palimpsests. And like in palimpsests, the thick visual information of the layers can be read with varying degrees of difficulty. It accounts for their complexity and intricacy that they mix very different images or visual worlds: the eternal beauty of the female body; the contingency, anonymity and occasional ugliness of scrawls, graffiti and the textures of wall surfaces; and elements of landscapes, trees and grass. The female bodies and their details now disappear, now come to the fore, entwine the graffiti and elements of natural scenery. Or rather, it is impossible to tell what entwines what, because the different details are knit together in a single complex and brilliant unity or surface, inseparably and an illusionistic manner.