Is he an anarchist, an ultraliberal marketing expert, or simply living proof that the two types are interwoven—especially in America? During the past summer and fall, Peter Fend—as ego, as part of OECD (Ocean-Earth Construction and Development Corporation), as artist, as entrepreneur of planned multinational art corporations aiming to make the world better through artistic means—traveled between Cologne, Frankfurt, and Paris. Always holding a new conspiracy theory, he introduced himself and his permanent preoccupation with improving the world’s ecology. His blueprints and analyses, his assertions

The invitation for Christa Näher’s exhibition quotes a letter from the Marquis de Sade to “La Jeunesse.” Dated October 4, 1779; the diction is crude and sprinkled with risqué barbs, but on the whole the language constitutes a lovely negotiation of darkness. Näher’s works, two cycles on the theme of the Marquis de Sade, absorb the mood of this language into their titles: Bluthusten salonfähig (Coughing blood respectable) and Die Zeit ist dem Zustand der Seek egal (Time doesn’t matter to the state of the mind) (all works 1990). Yet these works are not literary illustrations, they are balancing