From the 1970s onwards, Ulay worked with Polaroids. He thereby made an essential contribution to introducing the technique of the instant camera into an artistic context. In addition to the photographic rendition of persons beyond social conventions, Ulay repeatedly presented self-portraits. In S’he from the series Renai sense, Ulay staged himself in various roles. The serial arrangement causes the process to resemble a transformation: just as when wiping a steamed-up mirror, there is a gradual revelation of various facets which ultimately combine into an androgynous being, half man and half woman.