She wears nothing but color. There is no subject but Pink, a Green, a Blue, a Grey that is not a Grey but hints at a Yellow through the plexiglas: light flowing into a reflection or a corner in the room.

She is the window, the mirror and the prism.

Phenomological. The phenomenon of color is her concern. Naked light, naked Pink, naked Blue – there are no figurative bodies just colors she bears of their functions so they serve no one and nothing but themselves. Nude Pinks describing nothing but Pink; hues as compositions for all the adjectives and none: euphoria, ecstasy, liberty caught in plexiglas, wild abandon and elusive purity.

Duben Canales, from the essay "Naked Light" in Anne Senstad's The Pink Project

In 1997, Norwegian artist Anne Senstad began using lens-based media to explore our associative sensorial experiences with light and color. Seeking to visually translate the sensations that arise from our perception of the two elements, Senstad arrests their movement and effect on architectonic space.

In the main gallery, Senstad’s photographic murals are light and color recordings of the artist’s experimental installations. These murals, created entirely on film, serve as photographic evidence of fluorescent bulbs’ emissions streaming through large sheets of paper. The artist is less concerned with depicting the sources of light and color than she is with detailing the ways in which traces of the two entities are omnipresent, impacting our perception of our surroundings.

Senstad refers to her video in Gallery Y as a film sculpture study in light displacement. The artist places everyday interior objects that produce light and color in unfamiliar, exterior territory. Like light skyscrapers on city rooftops, these light tubes both converse with and challenge the natural light generated from the sun.