《躺卧》（2024）描绘了一个蜷缩的、性别模糊的人体，在柔红与灰褐的背景中漂浮。作品延续卡恩以“身体”为叙述核心的绘画语言，通过模糊的轮廓与近乎胎儿的姿态，暗示生命、欲望与脆弱的共存。画面虽静，却充满张力——观者既能感受到身体的温度，也被迫直视它的暴露与无助。卡恩以女性自身的身体经验出发，重新定义“观看”与“被观看”的关系，让女性形象摆脱传统的母性、圣洁或缪斯角色。

herumliegen (2024) portrays a reclining, gender-ambiguous figure enveloped in soft red and brown tones. Through her signature hazy contours, Cahn transforms the body into a site of both intimacy and tension. The fetal-like pose evokes vulnerability, while the warm palette suggests persistence and presence. As the artist herself has stated, “I’m a feminist, and as women artists, we have the opportunity to invent new images… to show true sexuality from our own point of view.” In this work, Cahn reclaims the body as a space of agency, emotion, and resistance.