But photography has the advantage on painting in effusing authenticity. Precisely when such expressive, dramatic photography is combined with technical perfection, when one catches onself wanting to brush Andy Warhol's hair out of his face, when all this is tangible almost in 3-D, then expressiveness is joined by the quality of the documentary, the veracity that always adheres to photogrpahy: it creeps in by the back door and bestows authenticity. Then photography becomes exciting. For, even where it is a fiction, it is never only fiction and the old notion of "inimitable fidelity" cannot quite be shaken off; then the field of tension between "record and invention" is created anew, every time. Portrait photography especially shows this again and again. It is not only a portrayal, it is also self-portrayal. Thus it not only reproduces the image the subject has of himself, but also the image that the photographer has of him as a person and as a representative of a given social group. "In such circumstances, how could the portrayal of society be anything other than the portrayal of society portraying itself?" Gottfried Helnwein's view of reality has always been analytical, critical and even caustic. Not without cause his art knows only enthusiasts or opponents, but no indifference. It polarises. He has approached the subjects of his Faces in the same way, including the celebrated representatives of our society, largely from the cultural sphere, form literature, art, music and film. His pictures unmask but are not voyeuristic. What he had achieved patently is to have got his sitters to disclose something of themselves.