It is the duality emanating from a particular, predetermined system combined with the subsequent observation of unforeseen deviations and ruptures that characterizes the process Maurer realized in a multi-faceted form over the course of her artistic career: from her early graphic works to her displacements as she calls them, and culminating in the "quasi-images" that she derived from spatial painting in the 1980s and 90s. Since 1973 Maurer produced a series of films in loose succession that fit in with her investigation of structure and its inherent variability. Initially, these works were solely committed to the concept of repetition and the measurability of movement, but they increasingly became concerned with a conceptual questioning of the image, closely tied to momentary fragmentations of body, movement and space.