As an apparent exponent of a self-reflective practice, Meuser produces austere reliefs and free-standing sculptures that surpass their physical limitations as objects. He achieves this via the introduction of conceptual content in the form of visual associations and highly allusive titles. Meuser finds the material for his art—metallic shards, remnants, and assorted junk—in reality, and he discovers the sources for his titles everywhere. However, he deprives both the found objects and the titles of their original: forms, functions, and meanings, thereby challenging us to rethink our own

Raimund Luckwald’s highly original ensemble of wood, cloth, iron wire, jute, and resin objects looks like refuse. Paired with titles from everyday life such as Müde (Tired), Mehr Licht (More light), Haar (Hair), Schatten (Shadow), Ohr (Ear), Geduld (Patience), or Die Knie (The knees), they instantly suggest that everything here is relative and variable. Some of these esthetic objects, which resemble filigree and are imbued with spatial élan, are actually little more than representatives of utterly unpretentious everyday motifs. The table form, the pillow form, the lamp support with no available