“In psychoanalysis, nothing results from sheer coincidence.” This personal communication from Olivia Farkas, a colleague in Paris, is sufficient to frame this meditation on the sculptural practice of Ewerdt Hilgemann as a psychoanalytic essay, describing, as it does, events and circumstances shimmering with coincidence. Although herein there are no formal psychoanalytic interpretations nor links with existing theoretical systems, nevertheless the reverberations of trauma across generations, now finding creative expression in the plastic as well as literary arts, speak to concerns with which psychoanalysis itself is struggling to make some peace. “Coincidences” speak to a fundamental concentricity of life as lived. The psychoanalysis on offer in this essay takes place not on the surface of the text but in the internal space of the reader.