The artist compared her own portraits to the pictures of unknown women to ask with anxiety for the sources of the analogies. Asking for analogies was simultaneously asking for the nature of identity. The issues addressed by Ivekovi belong to the most important and widely discussed ones in the present world. Authors of multiple theoretical texts as well as art works suspect that we are rather a creation of beauty products producers and fashion designers than the result of our studies of Kierkegaard's philosophy. It is also significant that the photographs show women, which should otherwise be of no surprise us when we know that the author of the exhibition is a woman.
Women remain, however, the object of particularly advanced manipulations.
Thus, the show reveals also the feminist aspects of Ivekovi 's attitude and art. They ripen and are being broadened in the subsequent works to become one of the constitutive elements of her art. One has to point to the fact that the exhibition, which was realised very early in her career, places the viewer in the space between the public and the private dimension of existence and art in a model way. Subsequent Ivekovi 's works make this feature even more prominent, more visible, and reveal its inner complexity through endowing its manifestations with various forms. This may serve for a convincing argument for the statement that this element of Sanja Ivekovi 's art did not appear in result of gaining of new art experience, but it is one of the basic features of her artistic attitude.