The exhibition Rebis at Stadtmuseum Lindau is a reflection on the ephemeral and ambivalent sexuality of biblical figures in art focusing on the Medieval period.
    The central element in the exhibition is a Medieval painting of St. Wilgefortis, a princess with a beard. This unlikely historical representation stems from a legend about a ‘courageous virgin’ (Latin: ‘virgo fortis’) compelled to marry against her will. Desiring to devote her life to Christ instead, she prays to be made repulsive, which God answers by growing her a beard. The image of the crucified St. Wilgefortis intersects with representations of Christ, intensifying the status of the androgynous icon.
    Postma's work New Clothes translates the temporality inscribed in images of Christ into a sequence of purple window curtains. The curtain’s fabric is sequentially thinner as one moves through the exhibition space. The ‘thinning out’ sensuously alludes to the way that the image of the infant Christ was gradually but radically refashioned in the Renaissance.
    The sculpture Rise of the Nuns attests to the latent gender relations present in utilities for centuries. The sculpture is made of antique roof tiles historically referred to as Monk and Nun tiles, which acquired their form from being moulded on a human thigh. In roofing, the bottom tiles are called Nuns and the tiles covering them are called Monks. The sculpture arranges the tiles in the same pattern, but with the axes turned, thereby placing the Nuns on equal footing with the Monks.
    Rebis (from Latin “res bina”, meaning dual or double matter) emphasises how icons often enact shifting contemporary ideas on gender. The Virgin Mary stands as a potent example. The 15th-century statue seen here depicts Mary in a lamenting pose. However, as she was modelled after the subdued manners of a noblewoman, she appears to suppress her sensation of grief. Postma positions her in the light coming through the last window, which is left uncovered.