Tarrah Krajnak’s work makes clear reference to the history of photography, on the one hand, and to the artist’s identity as a Latin-American woman, on the other. A sequel to her first critical homage to Ansel Adams, this series is consecrated to another North American « master », Edward Weston. Krajnak here re-enacts the famous Nudes. She takes the place of models Bertha Wardell and Charis Wilson, reproducing their poses—but also depicts herself as author of the photographs, a remote shutter release in hand. Restoring to the picture what Weston left outside the frame or emphasizing Weston’s framing choices—what he excluded—using simple wooden panels, Krajnak replays a significant chapter in the history of photography while re-focusing on the role of the female model. Through this performative and photographic act, Krajnak affirms her Latin-American identity and her body of color. She creates through her presence and the gesture of image reconstruction a dialogue with her predecessor, Weston, as well as with her contemporary viewers.