In this exhibition of drawings and india ink paintings, Hinrich Weidemann gains a formal and reflexive subtlety by joining the serial and the repetitive, the stringently formal installation of uniform elements in space and the immanence and autonomy of each individual work. Covering three freestanding inner walls with four rows of ten drawings each, the 119 drawings in large white frames, hung at close intervals, constitute a potentially endless grid, which, as a formal pattern, subdivides the wall into identical units and produces a minimalistic order. By leaving one place empty, the artist

A small group of cheap, wood-veneer furnishings set up in the middle of the large gallery: a bed covered with a white sheet, a night table, a dresser, two wardrobes, a table, and a chair. The forms of the individual objects are reduced to their barest functional necessity, unadorned, undecorated; they look austere, severe, and impersonal. They do not exactly entice us to make ourselves at home; indeed, their sobriety intimidates us. We are hesitant to enter the space between the individual pieces. We are also reluctant to read the countless sentences that are carved into the furniture’s wood