In 1946 Frederick Sommer began to photograph composed arrangements of found objects. He came to the conclusion that things which at first might not appear to have anything in common can still ‘meet and work together’. He used distortion in his assemblages to create unlikely connections between works of art of different periods and traditions. In Dürer Variation Sommer cut, pleated and reassembled three reproductions of engravings from Albrecht Dürer’s Large Passion series. The result is an image devoid of perspective and almost Cubist in appearance.