The painter has had a series of disparate collaborations this year. The first, in her home state of Ohio, was with a bunch of teenagers, going through the Cleveland Museum of Art’s archives with them to produce a playful exhibition of her work. The second was sharing equal billing with Vincent van Gogh at a two-person show at the eponymous foundation-space in Arles, where she placed his paintings against a set of vivid, digitally collaged wallpapers. The contrast is telling, from adolescent awkwardness to taking on the prototypical male artist, as Owens’s work makes no distinction between pop and art-historical references, gestures and methods, combining Photoshopped surfaces with acrylic swirls and readily swapping the illusion of surface and depth. As she’s stated, ‘I want to ask what “painting” means and what “craft” means’; and her willingness to confront what image-making means today has made other artists look to Owens to help define what contemporary painting can be.