After twenty years on the contemporary art scene, Josephine Pryde started receiving more attention. In April 2012, one of her photographs of guinea pigs appeared on the cover of the American Artforum magazine, which also included an extensive review of her retrospective exhibition, Miss Austen Enjoys Photography1. In the exhibition, Pryde presented photographic series with objects, built, for example, from straw baskets or other small items. Such an arrangement is symptomatic for Pryde: she might often be perceived primarily as a photographer, but photography is only one of the media she uses in her exhibitions. Her presentations always combine images with other elements in the form of sculptures or installations that put Pryde’s photographic work in a new context and create different meanings.