Although Norbert Prangenberg’s paintings, drawings, and sculptures are based on a geometric vocabulary, they cannot be described as constructive. Rather, they evoke a magic that primordially imbued the shapes of the circle, the diamond, and the oval. This magic emanates from the 14 new sculptures by Prangenberg that were on display here: life-sized works in colored ceramic. Most of them are wall pieces, whose process involves a dialectic of opening and closing, of sculptural advance and painterly distance. Craters, beakers, or three-dimensional arches loom out of tremendous, palpably heavy plates

Martin Kippenberger is, in his own words, a waster, an inciter, a pretender, and a trickster. In a corresponding manner, his art is preoccupied with unrelenting provocation and lightninglike illuminations. He says, writes, and shows all too often and all too clearly what his world view is: a program for playing, an absurd combination of beauty and threat, sanity and insanity, chaos and order, humorous paradox and moral effect. In a sense, this exhibition, entitled “Input-Output,” is a typical one for him, even if it is played in a moderate tone.

This exhibition was divided into two parts, both