Museum curators, particularly those helming more cutting-edge institutions, clear space for her conceptual creations. No exception is fellow-countryman Hans Ulrich Obrist, who storms the Astrup Fearnley Museet in Oslo in his upcoming Europe Europe survey of the Continent’s under-35-and-blessed. Rosenkranz, naturally, has been anointed with the honor. She’s also shown at the New York’s Swiss Institute, Kunsthalle Basel, and Centre d’Art Contemporain Geneva. Still, according to international art world press, her gallery efforts have been strong, especially adored by the New York Times, which raved about both her solo efforts at Miguel Abreu Gallery, in New York’s Lower East Side. It was also in Rosenkranz’s home turf, at Karma International, the show “My Sexuality” (2014) caught the eye of European critics, featuring a series of paintings evoking Yves Klein’s Anthropométries—painted in-situ, after swallowing Viagra, in gestural spatters of flesh-toned paint. It’s well known that Viagra has little effect on female biology, except for expanding capillaries, thereby inducing a woman to blush, such as did Rosenkranz when she painted the canvases. The “blushing,” as Rosenkranz has explained, is a gesture often culturally interpreted as one of shame. As one might expect, Rosenkranz is not, in her estimation, subverting the patriarchy or commenting on the perimeters of female sexuality. Rather, in her view, she is commenting on the cultural constructs of perception. This piece—as with her practice—attempts to attune us to how identity in society arrives through each other’s perceptions. It’s all skin deep.