Red walls, dense and saturated, produce an atmospheric interior that is unfamiliar and unsettling. Filled with restless surfaces and figures—wallpapers, curtains, mirrors, pillows, and ornaments—the architecture visually collapses into the objects that teem over it. In this image of the aptly-named Garden in Hell reclines Diana Vreeland, former Vogue editor, jauntily showing off the salon of her New York City apartment designed by Billy Baldwin in 1971 (Figure 1). Although Vreeland is centered in the space and framed by the room, there is a degree of indeterminacy between her body and its context. Her presence is both undermined and exalted by the optical mimesis between subject and space. The color red completely subsumes the profusion of pattern and ornament, provoking a misreading of her outline against the textured room.