More than just cubist inspired, formalist still-lives, Florence Henri’s brief but influential photographic practice (ca. 1928–1938) dove headfirst into the formalist modernism associated with the New Vision movement and into the questions of perception and reality raised by the photographic medium. Her use of mirrors as compositional devices disrupts perceptual certainty and locates her work in a fluid zone between photography and photomontage. The mirror, in Henri’s vocabulary, is at once a concrete object that frames and contains, and a hallucinatory surface that disrupts and refracts. This essay explores the modalities of the mirror, expanding our understandings of the limits of retouching and montage.