After his exhibition "The Unborn" at the MAK in 1997, Bruno Gironcoli, without doubt one of Austria's most important artists, presents a cycle of 155 colored pencil drawings on paper from the years 1980-195 for the first time. In these drawings, Gironcoli tried to reveal the mother-child-subject's various levels of meaning. He depicts the prototypical family as a both fascinating and repulsive entity, describing its idyll and the longings linked with it as questionable and obsolete. While Gironcoli's earlier works on paper visualize dream worlds and represent a complement to his sculptures, there is an immendiate connection between this cycle and the sculpture he made at the time or afterwards. The "Lady Madonna" drawings document the radical changes within the artist's work: after spreading out the things he used in his early installations, Bruno Gironcoli now condenses his objects into assemblage-like sculptures.