In John Armleder’s highly original assemblages, which incorporate fragments of furniture and other found materials, one can detect a range of styles, styles that can often be linked to specific periods and places. At the same time, Armleder tends to render these materials so abstract that they become neutral, or at least not immediately recognizable, signs.

Armleder’s new work seems to be even more concerned with transforming the detritus of daily life into abstractions that cause the viewer to grope for the original significance of the materials that he is exploiting. This was especially evident