In her display cases and photographs we see people and things re-objectified, symbolically removed from their original, all too familiar mediated contexts, and rearranged into self-consciously mirrored window dressing. ‘Yes, the mirror and chrome sculptures, glass-and-steel vitrines, and mirror slatwalls are not affirmations or glorifications of consumerism,’ Meckseper says. ‘Their shiny surfaces are meant as provocations for destruction. They are designed to be targets, like high-end shop windows being smashed during riots and protests. These works mimic retail aesthetics in order to activate the commercial zone into a political one.’