German-born artist Rebecca Horn has, since the early 1970s, been engaged in a diverse and prolific practice. Her process-oriented performances, films, sculptures, installations, drawings and photographs are, literally or metaphorically, extensions of the body--and often serve as mechanical replacements for it. Referencing mythical, historical, literary and spiritual imagery, Horn invokes these bodily concerns with such objects as violins, ladders, pianos, feather fans, metronomes and drawing machines. She is best known for works like "Pencil Mask" (1972), which looks like an instrument of torture, but which actually transforms the wearer's head into an instrument for drawing; and "Unicorn" (1970), a performance in which the artist transforms herself, by means of a prosthetic horn, into an awkward version of the mythical creature. This exceptionally printed volume contains a concentrated collection of Horn's drawings and includes an essay by German art historian Doris von Drathen.