Draw a picture of yourself, nude! As much as we are familiar with linguistic ambiguities such as these, our sense of ambiguity deserts us when it comes to images. Especially in art. Worringer’s paintings are ambiguous. They fulfill Stanley Budner’s definition of an ambiguous situation, because they can’t be clearly defined or categorized. They require the viewer to have a great tolerance for ambiguity. It’s not a motif that creates a sense of discomfort, but rather the viewer’s unsatisfied expectation, his not-to-be-soothed will to find the correct interpretation, and the impossibility of reacting adequately to what has been seen. Worringer’s ambiguous art should, therefore, be understood as a critique of a certain kind of Western thought—a kind of thought marked by dichotomies and categories. His art opposes this and consciously bridges the gap to the Arabic-Islamic culture of ambiguities, as described by Thomas Bauer, an expert in the field of Arab studies. Through the perception of his art, Worringer’s aversion to thinking in dichotomies, prejudices, racism, or interpretive hegemonies comes to light.