Thomas Schütte’s work shown here is clearly involved with deliberate deformations that instinctively make reference to Giorgio de Chirico, as evidenced in his titles: Piazza Uno (Plaza one), Piazza Due (Plaza two), and Tre (Three), all 1986. The shape of the building in Piazza Uno reminds me likewise of state architecture between the two wars—of Albert Speer’s, for example, but also of a more anonymous one. Piazza Due, which was shown in the same space as Uno and formed with it a single ambience, cannot help but bring to mind those watchtowers placed along the boundary that divides the two