When we look at a painting, we automatically look for the familiar. We see a horse casting a shadow or a dancing couple moving towards each other. KM directs our gaze here to ‘the things in between’. To do so, it enhances the ‘in-between’ with striking colours, for example, or superimposes familiar objects with unrelated entities. In this way, KM stages an oscillation and invites the audience to break away from rigid visual habits.