At his fifth solo exhibition at this gallery, Thomas Grünfeld presented a group of works from 1986 and ’87 that he has described as “fragments of interior design” or “seven prototypes of form invention.” These included objects based on different kinds of furniture (including examples of what he calls “alienated furniture”) and various types of frames. He has presented similar kinds of objects at various shows over the past few years; now, gathered together in a single show—and with several additions and refinements—these were offered as a kind of repertoire. The changes are twofold. Unlike

Present-day art runs enormous risks that are difficult to gauge when it leaves its predestined, indifferent “white cell” and is presented in spaces whose meaning is already historically determined. A broad sampling of such situations was offered by two recent group exhibitions—“Chambre d’Amis,” Gent, 1986, and “Skulptur Projekte in Münster 1987”—and explored again somewhat differently in this two-person show. Ernst Caramelle and Yuji Takeoka chose a location that is public but not usually available for exhibitions. By taking over both floors of the Japan Foundation and showing a variety of works