In her earlier paintings artificial light, architecture and urban scenes were recurring motifs. The work could be a facade, an interior or a crossing of two roads. In these paintings there is still a certain compositional structure with elements like crossing lines that function as coordinates within the plane of the picture. In the recent paintings these coordinates are relegated to the background. Here nearly completely abstract spaces are created and the focus is on the effect of artificial light, color, atmosphere and space. For example in Luft there is a gradual change from dark blue at the bottom of the picture to a soft violet-pink at the top of the small panel. The painting points to a diffuse evening light. As with other paintings, the image evolves from photos that Münstermann has taken herself. The painting is of course never a copy of such a photo. It is always an interpretation. In other recent paintings a horizon occasionally crosses the painting’s surface horizontally or, in other cases, is at an angle as if it is seen from a higher point of view hovering like in an airplane.  The aerospace sometimes seems to be lit from an unclear source. It might be a light that comes from a city or its reverberation. In Abflug it is clear that a runway is being depicted because the strip has signaling lights on both sides. Other paintings like Transit, Babel and Siberia seem to evolve from photos taken from an airplane. In the end, however, the photo is not important as a form of representation but as a first step of abstraction of reality. For the spectator however the photographic source is not important. What is important is the way the spectator is seduced and challenged to look more closely at the twilit scene: how does one relate an object with another, are there points of contact in this endless space, how are the graduations of color developed and what kind of structure does the surface of the painting have?Her earlier paintings feature artificial light that originates from fluorescent or neon lights or from lamp posts. These light sources, combined with the reflections on windows and pavements, create a dynamic image with unusual and bold color contrasts.  She would use, for example, a sensual violet against a dark green or turquoise against dark brown. The artificial character of these late night scenes is furthermore accentuated by the mixture of interior and exterior and fore- and background. It is as if certain architectural forms are losing their bearings and become abstract elements crossing the image plane.In her recent paintings light and space are still important, but these aspects have been elaborated in another way. Münstermann is still using night light, but this time there is no traceable source. Sometimes there is a blue or violet space featuring a gradual shift in brightness. The points of light visible here and there seem to hover in an immeasurable space of primarily blue light. One of these phenomena which is called flare is well known within the photographic world and occurs if a light is reflected on the lens of a camera, creating a beam of light in the image whose source is not traceable. Münstermann gratefully uses these accidental phenomena. The lighter areas in her paintings are created by using a white paint or a lighter layer over the blue or violet background.  These layers are thinly painted.  As a result the relatively rough structure of the linen becomes visible. The effect is an even more diffuse light that is spread all over the canvas. The horizontal and vertical lines of the linen might also remind us of the lines that can be seen on a TV screen. The stratification, the subtle variegation in color and the elusive spatiality, create a liveliness that constantly attracts the eye of the spectator and forces us to look more closely and intensively.