Since the last Documenta in Kassel, where his ant wallpaper was installed in the entrance hall of the Friedericianum, many people have formed a fixed idea of Peter Kogler’s work, tending to see in it a variation on certain themes rather than their further development. He has often used computer-generated ant, brain, or tube motifs as basic modules to form paths that fork mazelike across the walls, creating an even allover structure.

Depending on which interpretation one subscribes to, one may prefer to speak either of coherence or dearth of ideas in Kogler’s work. His Secession show, in any case,