Reclaiming Adolescent Sexuality: Images of Girlhood in Petra Collins’s BABE This paper examines photographs, drawings, collages and other art forms collected in the book BABE, edited by photographer Petra Collins and published by Prestel in 2015. And readmit the collected artwork as an attempt to present the image of the girl (including her Sexuality) from a young woman’s perspective. BABE, which includes works such as photographs of teenagers with visible period blood on the Underwear or a to-do list with the objective of never faking another orgasm, asks who a contemporary girl is and how young artists can challenge traditional images of femininity. In my analysis I focus on the excessive use of the color pink in BABE, characterising the way artists blend labelled with eroticism. And why by playing with artifacts of ‘girlishness,’ artists can both express the absurdity of the image of the girl in popular culture and Reclaim symbols of Girlhood. And suggest that Collins – despite her ambitions to create an inclusive platform for female artists – do not present a diverse image of girls, who in BABE is still predominantly white and able-bodied. And introducing the potential reading of BABE as a Feminist visual manifesto, in reference to the Riot Grrrl movement and the cultural phenomenon of “girl power.” I suggest that the book offers a possibility of exploring the figure of the girl from the perspective of young female artists. Recovering young sexuality: images of girls in ‘BABE’ Petry Collins The article is an analysis of photographs, drawings, colleagues and other works collected by the photographer Petra Collins in the BABE album, published in 2015 by Prestel. In the article, I read the work collected as an opportunity to present the image of the girl (including her sexuality) from the perspective of a young woman. BABE, which contains both photographs of a teenager with visible menstrual blood in white, and a photo of the list of tasks on which the artist makes a decision to never go orgas, raises the question of who is girl today and how young artists can challenge the paintings of women. In my analysis, I focus on the predominance of rose in the visual layer of album, showing how the artists combine apparent innocent with eroticism. I believe that, through the game with the ‘girls’ conventions, the authors of the work can both showcase the image of a young woman in popular culture and restore girls’ symbols. I suggest that Collins, despite the attempt to create an inclusive platform for artists, does not offer a diverse picture of a girl, who is still mostly white and without disabilities in BABE. In BABE’s reading as a feminist visual manifesto, I refer to the Riot Grrrl movement and the cultural phenomenon represented by the slogan ‘girl power’. I suggest that the album offers an exploration of the character of a girl from the point of view of young artists.