This work is perhaps the ultimate example of Heinecken’s interest in multiple iterations. The title refers to one of his favorite novels, the 1955 mystery Le Voyeur by the French writer Alain Robbe-Grillet, whose narratives describe events from multiple points of view. Heinecken printed the fragments of female bodies on a stretched canvas, then treated the image with bleach, stained it, scraped the surface, and drew on it with chalk. In his three-panel homage, small sections of the female body are selected, magnified, and reworked to simulate a body viewed from different perspectives. Heinecken situates himself as both author and viewer, proposing a new paradigm for picture making.