Jensen works with raw, unprimed canvas and sparse mark making that embraces emptiness and surface tension in ways that closely mirror Ostrowski's reductive approach. Both artists treat incompleteness as a compositional strategy, allowing thinly applied materials and exposed ground to carry conceptual weight.

Eichwald combines lacquer, oil, and collaged elements on unconventional supports with a deliberately casual, accidental quality that aligns directly with Ostrowski's mixed media process. Her work similarly navigates the space between gestural abstraction and conceptual restraint within a contemporary German painting context.

Brätsch explores large format painting with layered, translucent materials and a muted palette that echoes the oil and lacquer combinations central to this Ostrowski piece. Her practice shares a similar tension between deliberate gesture and accidental surface effects within a conceptually framed abstract painting tradition.