One recurrent theme running through Thomas Struth's complex photographic oeuvre since his beginnings in the early 1980s is the group portrait. He has repeatedly taken on the challenge of photographing couples, parents with children, and extended families, handling the situations with consummate compositional and psychological talent. Transposed into a modern medium and thus into our real present day, Struth's large-format family portraits catch the eye not least thanks to their undeniably representative character. The individual's need for self-representation within the framework of an hierarchical order can be sensed even in what are purportedly the most relaxed of groupings.