Scents of Identity (1993), by Margaret Harrisson, takes as reference Edouard Manet's work Un bar aux Folies Bergère (1881-82), where a waitress and prostitute remain solicitous behind a bar, with a sad and lost look. In this series, Harrison portrays different female figures as department store sales clerks to denounce how the capitalist machinery frequently places women in the position of mediators between products and customers, and how the "obliging femininity" expected of her, also turns her into an object of desire. The careful presentation of the paintings in the exhibition space, arranged on a colored background and illuminated with elegant lamps, also invites us to think about the gaze as a form of consumption, and the artistic work as merchandise.