The young Austrian artist, Ernst Caramelle, who frequently camouflages his identity behind “falsified” autobiographies, managed to “conceal” his work at the most visible place in the famous Mies van der Rohe edifice: the glass facade of this light-flooded pavilion. White rectangular fields, painted directly on the windows from ceiling to floor, transformed the glass wall into a rhythmic strip of transparent and opaque zones, alternately blocking or framing the view from indoors. From outdoors, the alterations suggested a projection of the internal spatial organization upon the two-dimensional