Fini’s attraction to transgressions that expose the dark ties between sex, death, and promiscuity is unveiled in this section through a selection of works that highlight new methods of rebellion against established moral codes. Paintings such as Dans la tour (1952), L’Alcôve (1941), and Rasch, Rasch, Rasch, meine Puppen Warten! (1975) narrate intimate and domestic stories filled with nuances of friendship, brotherhood, sexual dependency, and independence. Raised in a free-spirited and unconventional family, without a father and without attending a Catholic school, Fini embraced forms of relationships where roles were not rigidly defined. Family and couple dynamics find their ideal setting in the bedroom—a space that is both intimate and social, a stage for unexpected encounters.