In her photographic series, Horna offered a decidedly unromanticized and often eroticized vision of femininity and sexuality. Among these series is "Oda a la necrofilia," published in 1962 in the avant-garde journal "S.nob," directed by the writer Salvador Elizondo, in which Horna coordinated the section titled Fetiches. This series—a visual narrative in which an enigmatic female protagonist, veiled in black, removes her clothing bit by bit as she interacts with an unmade bed, a white mask, an open book, an umbrella, and a candle—evokes the ambiguous, erotic attraction provoked by an unrepresentable subject: death. Horna’s experiences of the war in Spain left a deep imprint on her later work. Some of her most personal series explore themes of disillusion, displacement, and loss, oftentimes with a refined sense of irony that can be traced back to the satirical, anti-fascist work of her early years in Europe. In "Oda a la necrofilia"—arguably the best known of the three series by Horna published in "S.nob"—erotic pleasure, suffering, and transience intertwine ritualistically as a mournful woman circles a deathbed. Standing as a fetish for the body of the deceased, a white mask carefully placed on top of a pillow becomes the recipient of the woman’s sorrow and desire.