Lynn Russell's work presents a vexing aesthetic problem. She insists on treading the murky line between photography and painting; between mechanical reproduction and handmade creation. Hardly alone, her quest is in fact one of the major discourses of Modern Art. The early 20th century saw the utilization of commercial typefaces, printed patterns and newspaper clippings in groundbreaking Cubist collages while at the end of the century Pop Art celebrated multimedia and Postmodernism erased the cultural distinction between art and popular culture. All aspects of aesthetic experience, from the banal to the sublime, are now legitimate material for the creation of art. The uniqueness of Russell's work rests in the fact that she operates in the arena of Jewish meaning, building a legitimate third realm that supersedes the limitations of both photography and painting.