Layering fanciful, humorous imagery in color onto the surfaces of antique photographs of anonymous, largely decontextualized subjects, Paleckova’s oil-paint interventions blend seamlessly, if impertinently, into the original portraits. Her exuberant additions also supplement the photographs’ narratives; they augment and exaggerate rather than simply frame these found photographs. The original subjects of the portraits remain at odds with the visual addenda that encroach on them; at times, the intrusion of these new elements even appears to confuse the subjects. Rather than clarify the interpretation of these images stripped of context, her visual annotations—more suggestive hypertext than explanatory subtext—are so enigmatic that they tend to further muddle and fracture no matter what. This, however, seems to be the point: Paleckova’s work presents hybrid images that operate in a merry chorus of competing motifs, each inflating, exceeding, confounding, and complementing the other. Capitalizing on the absence of clear context or locations in the photographs, Paleckova works to underscore the ways in which images like these at once invite and resist revision or explanation, which is what ultimately makes them so enticing.