Enigma. It is the thought that think us. The thought of the painting is not the painting itself nor is the thought of the sculpture the sculpture itself, the thought of art as such tenaciously clings to details. What will remain in the minds of viewers who have seen the installation will be the shock of surprise; for this reason it is the installation that is the most distant from its vehicle and the one that most consistently denies the myth of representational art. The meaningfully representational has been superseded. A fiction that constructs itself and that nonetheless is filled space, and therefore has nothing in common with the so-called new realism of Tinguely, Yves Klein or Christo. Without the support of helpful quotations, perceptions that are still distrusted, that still need to be approached patiently and in whose field of tension our perception slowly changes. In the process of arranging, gathering, putting in order the elements that emerge from the wall or the floor and burst the familiar links of the anthropomorphic, we are touched by the fragile attempt to rhythmically release pure perception from the restrictions of the meaningful and the garb of language. Miasmic waterfalls of meaningless interchangeable phrases, phrases that may be readily replaced by other phrases, are hardly any help at the boundary of the expressive possibilities of the visual arts. Spontaneously moving spatial surfaces flow indistinguishably into spatial depths without recognizing either boundaries or identities. Insidously from the corners of our eyes the retransformation sets in: enigma