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In 1968, Reinecke also introduced the bow as a motif. Men wear bows around their necks and women in their hair. The bow is closely related to her Packungen series, but came to perform a more ornamental function. By stamping sheets of paper with a bow motif, Reinecke invokes an ephemeral, situational work that is considered a gift to the public, while simultaneously putting pressure on the art market by imposing a period of validity of 8 months on the work. Can a work of art ever cease to be a work of art? It's an interesting performative contradiction. At that time, Reinecke was strictly anti-art market. She even broke off relations with Jörg Immendorff, because, while they had promised each other they would never market their work, Immendorff had secretly, during the LIDL-period, found a gallery.