Part of a series consisting of three large-scale modular works, this piece comprises separately stretched canvas panels with considerable hand-applied color. The title, Heinecken noted, is “a pun on the nineteenth-century cliché verre process” (in which a painting or drawing on glass is printed on photographic paper) as well as an evocation of “the possibility that culturally misunderstood (or possibly understood) perversions, like fetishism, are really clichés.” Reminiscent of his cut-and-reassembled puzzles and photo-objects, each panel pictures disjointed views of bodies and fetish objects that never make a whole, and increase in complexity. As with his other canvas works from this period, Heinecken used negatives from The Latent Image (a mail-order company that sold pornographic film negatives), but the hand-application of pigments creates a more painterly and personal surface. He intended the hand-coloring to “illuminate fetish objects, or more correctly, my own uninitiated middle class cliché view of fetish objects.”