Written jointly by two authors, this essay was inspired by Angela Grauerholz’s photobook la femme 100 têtes, both by its form and by the sense of female collegiality it engenders. Although presented separately, the observations of Ioana Dragomir and Cheryl Simon ultimately form a cohesive whole, centred on the “surplus of meaning [that emerges] beyond the photograph.” In this work, whose title refers to Max Ernst’s historic book La Femme 100 Têtes, the emphasis is less on revealing identities than on concealing them.