From the mid-1980s on, Wilhelm Shenrok created a series of detailed drawings which combine well-known elements from mainstream art with explicit depictions of genitalia and sexual congress.

As the number of drawings grew, he decided that when he reached the significant number of 120 – mirroring Sade’s 120 Days of Sodom – he would publish the whole output as a portfolio titled 120 Days of Love.

Anyone with a passing knowledge of art history will recognise figures in Shenrok’s drawings from a panoply of well-known artists, from Leonardo and Rembrandt to Picasso, Botero and Warhol. What all these figures have in common is that they share both a common humanity – and a common sexuality. What Shenrok forces his viewer to acknowledge is often hiding sex and pretending it doesn’t exist simply magnifies its importance.