“Shot in the Peruvian convent of Santa Catalina, Arequipa analogizes the building blocks of film (frames, color and black and white stocks, negative reversal, superimpositions) to the frames of architecture (doorways, windows, walls, corridors). The confinement of the frame, the convent, changed for Hammer as she realized there could be beauty and a self-willed delineation of activity within the ‘imprisoning’ frame.” — Kathleen Hulser, Centre Pompidou