In her photographic series, Horna offered a decidedly unromanticized and often eroticized vision of childhood, 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 covered by a black veil removes her clothing bit by bit while interacting 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 in 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 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.