The girl in a bed-sheet covers one level of singular meaning— that she is the muse of the photo. She is, in fact, a muse worthy of Manet— frank, but with a streak of coyness which elevates her over Olympia; and as breathtaking, in this context, as the mistress of Luncheon on the Grass. If she, and this piece, resonates as contemporary in 2014, it is because photography as a medium, particularly American photography, is customarily not rich enough, formally or thematically, to carry the nuances, innovations, or multiple meanings of classic and classicist European art. Multiple meanings and nuances don’t have to create a sense of the ponderous (as Americans are wont to suggest); here, as in Abby Heller-Burnham’s “The Walls Have Ears,” the shock tactics employed engender not only arousal (sexual, emotional, and/or intellectual) but giddiness, the aesthetic equivalent of a line of cocaine (the sight of which was no stranger to Freud). To speak in the parlance of PFS, it can get you high, and off.