Charlotte Posenenske (*1930 Wiesbaden; †1985 Frankfurt am Main, Germany) is considered one of the most significant figures of postwar Minimalism, whose radical artistic practice questioned the autonomy of the artwork, the authority of the artist, and the economic structures of art production. Beginning with painting, she progressively developed spatial works that culminated in modular, industrially fabricated sculptures during the 1960s.

Her most influential works consist of serially produced elements made from materials such as sheet steel and cardboard, designed to be assembled and rearranged into multiple configurations. Rejecting the idea of the artwork as a unique and immutable object, Posenenske introduced principles of standardisation, reproducibility, and participation. The arrangement of her sculptures could be determined by others, transferring creative agency from the artist to the viewer or installer.

Posenenske's practice was guided by a distinctly democratic ambition. By employing inexpensive materials, industrial production methods, and deliberately accessible pricing, she challenged the exclusivity and commodity status of art. Her work established a dialogue between artistic form, architectural space, and social organisation, extending Minimalism beyond purely formal concerns.

In 1968, increasingly sceptical of art's capacity to effect social change, Posenenske withdrew from artistic production to pursue sociology. Her uncompromising position continues to resonate in contemporary discussions of participation, authorship, and the social function of art.

Selected Collections: the Museum of Modern Art, New York; Tate, London; Dia Art Foundation, New York; Museum MMK für Moderne Kunst, Frankfurt am Main; Art Gallery of New South Wales, Sydney; M+, Hong Kong; Toyota Municipal Museum of Art, Toyota.