For over three decades, Roni Horn (b. 1955, New York) has explored the natural landscape of Iceland. For her photographic project, Her, Her, Her, and Her (2002–03), she turned to one of the country's man-made landmarks: the Sundhöll Reykjavikur, a 1928 indoor swimming pool complex. Horn was drawn to the building's locker rooms, which form a seemingly infinite maze of corridors and compartments with white tiles wrapping around every surface to form a single, unbroken continuum akin to a Möbius strip, and peepholes in the doors that produce an uninterrupted network of views. The artist captured the site's charged voyeurism by arranging individual photographs, taken from different positions and angles, into grids. In some of the images, the bodies of various women changing clothes appear—the “hers” of the title—but they are obscured by the architecture or blurred in mid-action so that they remain inaccessible, ghostly traces. Horn often uses repetition to examine the relationship between individual and collective identity. Here, she uses it to create an endless labyrinth of gazes and thwarted desire.