The first work that one saw on entering this exhibition was Bollen op wit schap (Balls on white shelves, 1963), which is exactly what its title describes. In its simplicity, its flexibility (the balls may be moved in any position and function as movable elements within a fixed frame of reference), and its matter-of-fact references to architecture, it was the perfect beginning for a consideration of Jef Geys’ activities of the past 30 years.

This and almost all of the other works in the exhibition were surrounded by hundreds of black and white photographs referring to various objects, performances,