As usual, Hofër portrays the spaces she visits without any figures. In this case, the emptiness draws attention to the ostentatious monumentality of these grand rooms. Frozen in a moment of aristocratic history, these sites, with their extreme ornamentation and magnificence, seem even more overwhelming and oppressive. Time has passed though, which is revealed through carefully concealed hints of modern-day technology (lights, plugs) that appear behind historic decoration. The “memory” of Höfer’s title has multiple meanings: the history of past cultures, traditions, and institutions, as well as her own understanding of how that history has been remembered.