In the 1970s, the early works of Barbara & Michael Leisgen came as a counterpoint to conceptual photography, notably led by the typological school of Bernd & Hilla Becher in Düsseldorf. The different works illustrated hereunder are part of the Mimesis series, located in practices in operation since the early 1960s : the recording of a natural trace, research concerning the body and experiments related to Land Art. Barbara Leisgen’s silhouette is set, and leaves its fleeting trace in landscapes; the actions involve stretching out her arms to follow the contours of undulating countryside (the Paysage mimétique and Mimesis series), or to include the sun in an arc drawn by her arm while she is seen from behind in the center of the image. This is not merely imitating nature through its gestures; it describes, in the sense of tracing, and channels it as well. The (re)appropriation of the landscape is subjective, the silhouette of Barbara Leisgen being displayed in the landscape, inscribing its mark therein is ephemeral.

Barbara and Michael Leisgen's work is discussed and mentioned in numerous publications, including "Feminism Art Theory: An Anthology 1968 - 2014" (2015) by Hilary Robinson, "Video Art Historicized: Traditions and Negotiations (Studies in Art Historiography)" by Malin Hedlin Hayden (2015), "Une introduction a l'art contemporain" by Philippe Coubetergues (2005), "Le Corps photographié" by Jean-Paul Blanchet, Dimitri Konstantinidis, ... (1996), "Le sentiment de paysage à la fin du XXème siècle" by Bernard Ceysson (1977), "Chroniques de l'Art Vivant" (1974), etc.

Their work has been the subject of many publications - mostly in conjunction with exhibitions, such as "Les Ecritures du Soleil (Sonnenschriften)" (1978), "Die Ägyptische Wand" (1980), "Stellungsspiel" (1987), "De la beauté usée : Barbara et Michael Leisgen, [exposition, Paris, Maison européenne de la photographie, 10 septembre-9 novembre 1997]" (1997), "Kunst-Landschaft 1969-2000" (2000), "Zeitsprung" (2000), and "Positions" (2006), amidst others.