The project for the Museum for the Development of Contemporary Art at the University in Rome is actually an exhibit within an exhibit. The ground floor of the museum is divided into two rooms: on entrance there is a wide ante room connected to a large hall that can be entered through three glass doors. My idea is to hang my paintings in the hall and to keep the doors closed, so that the paintings can be seen only partially and from a distance. The hall is therefore closed off. Monitors are placed in front of the glass doors showing video documentation of the exhibited works. This means that the paintings have been previously recorded and that they can only be seen by means of electronics.

On the walls of the ante room there are media images of the exhibited paintings: color and black and white photographs, computer print-outs as well as lazer-photo copies. These are medial sedimentations of the work, which can be viewed within the reconstructed sacred barrier between the viewer and the paintings. Sedimentations because, even though they refer to the originals, they are autonomous; being a part of parallel languages and aesthetics.

(Frankfurt 1991)

A version of this project was realized at the Galerie Angelo Falzone in Mannheim as part of the exhibition "Der Ton des Raumes" in 1996.