In his late polaroids, André Kertész turns his own apartment into a studio in which books, photographs, objects, and the perspectives offered by his window provide the raw material for his work. He makes frequent use of the contrast between light and shade, often placing some of his earlier photos in the context of new compositions and thus reinterpreting certain parts of his past. His greatest strength, however, is the puppet-show of objects which seem almost to have been brought to life. 
The polaroid images in his album from my window, dedicated to Kertész’s deceased wife, are the result of several years spent on the work of mourning. The mourning process, however, is only one of the many layers of the small colour compositions. One also finds, in these late polaroids, motifs from Kertész’s earlier photographs that have been reinterpreted, as if the aging artist wanted to.