Christoph Rütimann proves once again that you know what you see, but you don’t necessarily see what you know. As in his other installations and performances, in Villa Kraftstrasse 35, Eine Installation, (Villa Kraftstrasse 35, an installation, 1992) absurdity resided in the relationship of the individual elements to one another. If the continuous loop created in this exhibition were to lie on a table as a stereometric model, it would be unremarkable. One would probably only trace the line that it makes in three-quarter circles to define the six sides of an imaginary cube which simultaneously