In the mid-1960s, Heinecken began combining disparate pictures to create what he called “visual poems.” This cross-shaped work is comprised of seven black-and-white photographs of dolls, with a portrait of his then-five-year-old daughter Karol at the center. It is part of a series that Heinecken said “deals with a sexual theme of growing up” and “explores very simplistic poetic ideas in which isolated symbolic pictures are put together in an attempt to synthesize a new more complicated meaning.”