The Child illustrates a continuance in Helnwein's themes, especially with his large, monochromatic "Epiphany" series. In "Epiphany I: Adoration of the Magi" (1996), a group of SS soldiers gazes adoringly upon a placid looking woman who holds a naked baby on her lap. Part redemptive and part ironic, it's a farcical send-up of the original Nativity tradition. Helnwein used an archived photo in which the person originally in the place of the child was Hitler. While the painting is disconnected from a discrete narrative and one wouldn't necessarily know, upon observation, that the sinister men in the piece are SS soldiers, Helnwein's work is rendered with oppressive reverence that is immediately apparent. According to Helnwein, "There are many connections between the Third Reich and the Christian churches in Austria and German"; the moral complicity of trusted institutions is the source of his brilliant, black satire.