Here, a chair stands on a piece of photographic paper, which retains the shadow of a person who once sat on that chair through the use of photographic paper which is sensitive to light. The outcome has surpassed Neüssus's aim as his piece appeared to appeared to be scarily realistic whereby a person in that position on the chair could be easily imagined, with the help of the placing of the chair at the exhibition. The making of each photogram is a performance in itself and showed the viewer an extensive amount of dedication and creativity as something that had not been explored before in modern day photography. The playful title 'Bin Gleich Zurück' translates from German to 'be right back', and is ironic due to the evident trace of (a shadow) which was left by a person (who's back was) leaning on a chair. This term is interpreted in many ways and becomes even more poignant as years pass. The evident shadow detached from person creates confusion and a sense of surrealism (much like Man Ray, and it's possible that he was an influence in the making of this) as it does not float like Körperfotogramms but is grounded. Floris Neüssus was also influenced by popular figures of German high culture who also used silhouettes such as poet and philosopher Johnann Wolfgang von Goethe and artist Phillip Otto Runge. This photogram is not only a creation of shadows, but a creation of outlines and figures through catching, filtering or blocking light in a realistic manner. Camera-less photography allows the viewer to observe elements of mystery from a different perspective and an original technique, which wouldn't normally be easily viewed by a real person in that setting without using light sensitive paper. (http://leahfinebergalevel.weebly.com/curatorship-task.html)