Höfer began taking color photographs of interiors of public buildings, such as offices, banks, and waiting rooms, in 1979 while studying in Düsseldorf. Her breakthrough to fame came with a series of photographs showing guest workers in Germany, after which she concentrated on the subjects “Interiors”, “Rooms” and “Zoological Gardens”. Höfer specialises in large-format photographs of empty interiors and social spaces that capture the “psychology of social architecture”. Her photographs are taken from a classic straight-on frontal angle or seek a diagonal in the composition. She tends to shoot each actionless room from an elevated vantage point near one wall so that the far wall is centered within the resulting image. From her earliest creations, she has been interested in representing public spaces such as museums, libraries, national archives, or opera houses devoid of all human presence. Höfer’s imagery has consistently focused on these depopulated interiors since the 1980s. Höfer groups her photographs into series that have institutional themes as well as geographical ones, but the formal similarity among her images is their dominant organizing principle.