In her exhibition entitled “Regolith and Reproduction,” Laura Emrick incorporated science and technology in her art. She takes for granted a familiarity with the newest developments in the media and in technology, as well as with the images, stories, desires, and utopias they produce. For her, the seminal event in the development of media culture was the first moon landing. The voyage through space; the broadcasting of information by satellite; and the creation of utopias are simultaneously real and science fictional, opening outer space itself to larger-than-life fantasies as well as to flight.

What strikes one immediately upon entering the gallery with Miroslaw Balka’s works is the emptiness. In the gallery itself there seems to be nothing. The few objects displayed along the walls include: a wooden frame that could be a bed but is filled with salt; a nearly two-meter-long steel tube attached to the wall, its interior likewise filled with salt; other steel tubes of various lengths, filled with salt, salt water, or ashes. These objects produce an impression of absence marked by ascetic purity and rigor, an almost physical absence. Yet what or who is missing here remains a question for

Ever since illusionistic pictorial space was transformed into the actual picture plane in the ’60s, painting has been preoccupied with its borders. It is no longer the interior space of the picture but its boundary, dividing the picture from or uniting it with reality, which is significant. After neo-expressive painting at the beginning of the ’80s tried to return illusionistic pictorial space to painting, “new abstractionism” brought painting back into the fray of this modern discourse. It took up the impetus of analytic painting, which had shown that painting could no longer be construed as