In her Citroen Charlotte [Posenenske] drove Paul Maenz and Peter [Roehr] to numerous exhibitions, even abroad, in order to learn about the new art from England and the USA. They probably also saw the "Minimal Art" exhibition in The Hague in spring 1968. The three friends roamed through Holland, enthusing about the endless expanses of reclaimed land, on which, Charlotte told me, they particularly enjoyed being. In a letter to Adriaan van Ravesteijn, the owner of the Amsterdam gallery she used, Charlotte wrote: "The trips to Zeeland and Flevoland were unforgettable. I like the man-made, produced and manageable aspects there. Our films are so terribly amateurish and boring. For example: Beginning of the Dam-Dam—End of the Dam. Or 47 identical trees“. After Charlotte's death, Paul Posenenske let me have the films, saying they were part of the estate. Anybody who was young at that time tended to have a reserved relationship to nature, which back then always brought to mind the blood-and-earth ideology of the Nazis, although Sartre's most famous book "Nausea" may well have played a part. There was no Green Party in those days. Charlotte very much liked the fact that instead of just coming across land in its natural state you can also make it artificially. Charlotte would dearly have liked it if at the time the Dutch had already been building those towers for keeping cattle, where each floor is an artificial meadow. She liked the rows of green-houses glistening in the sun. In general, Charlotte had a very positive attitude to technology and tremendous sympathy for artificial things. She was not alone in this. As opposed to today, when neurological sciences claim that life is biologically determined, in the late 1960s and 70s everything appeared feasible and changeable, including people-natural proliferation was ridiculous. It was in this forward-looking era so full of optimism that planning sciences emerged. It was the "boredom" of the polder landscape that the friends found exciting. While Paul Posenenske was driving they took turns filming the roadside stones, trees and telegraph poles; I think it was Charlotte who said: "Monotony is beautiful".

— Burkhard Brunn, in Charlotte Posenenske (1930 - 1985), Erinnerungen an die Künstlerin. Frankfurt/Main: Revolver Publishing, 2005, p.109.