The gallery was divided into three parts: on the left, high on the wall, hung a window made out of rubber latex, its sides curving out. In the center was a large sheet of glass, framed in black metal, whose lower half featured an engraving of a balcony. On the right were four photographs of an enormous crowd of people, with geometric forms painted over each image. These were the elements which comprised Koen Theys’ most recent exhibition. At first glance, the window might have seemed a bit too Goberish, the glass a bit too precious in its stabs at architecture, the photographs too influenced by