In this show of Hubert Kiecol’s sculpture, drawings, and prints, the sculpture Paradies (Paradise, 1992) was the central work. This work consisted of a white iron grate resting on a concrete pedestal. The title seemed not to correspond to this massive cage of iron and concrete, and while traditional concepts of paradise indicate happiness, Kiecol’s work merely defined the space that a standing person requires. The paradise he erected in the middle of the gallery was empty, and it defined a spiritual place, a realm of the imagination. The concept of paradise is a free, undefined space that can