In the mid-1960s, Heinecken began to radically redefine the possibilities of photography through his participatory three-dimensional puzzles and sculptures. Here, the photograph is no longer a single, fixed image by a single author or a framed, flat print on a wall. These hybrid photo-objects are, according to Heinecken, “concerned with creating conditions under which a number of possible relationships and configurations may exist. This involves working things out in such a way that each combination has the potential of forming a relationship which is at least as good as the most obvious one. This allows the viewers/handler to play an important part in forming the image even though it is a transitory one and will alter the next manipulation.”