"I don't draw children, cats and dogs!" Gerd Grimm limited himself to the graphic representation of the adult human body with a sure instinct to defend himself against all those motifs that had repeatedly provided all too well-founded kitsch patterns in art history. It was only in the faces, gestures and postures of adult people that Grimm found the entire span of human existence and contemporaneity; only here did he mean to find out what time and modern life were at its core. In this respect, his portraits of people can also be seen as a mirror of their - mostly urban - surroundings.

Although images with feminine subjects dominated by far, Grimm has drawn men again and again. If one compares his portraits of women and men, it is noticeable that he showed much more reserve in comparison with his male models than in relation to women; here again and again critical, even ironic features can be recognized. On the other hand, his "girls" and women often seem to be idealized. It is also noticeable that Grimm clearly preferred the androgynous type of woman. What particularly preoccupied Grimm was with perspective problems of form. For this reason alone, he liked to experiment with pair constellations that made it possible to create a tense representation of different gestures, postures or movements on one sheet of paper.