Nineteen slide projectors set on windowsills and narrow wall ledges project photographs of Venetian chimneys onto the walls of this Mies van der Rohe villa; two project blank images. Lothar Baumgarten began this study in the winter of 1983/84, when a post-Modernist pleasure in viewing everything as sculpture, together with a growing recourse to appropriation was emerging in the art world. This current show, however, is far removed from these early beginnings. This installation, entitled wie venedig sehen (how to see Venice), directs our attention to various architectural structures, cultures,