With its limited colors and forms, Heimo Zobernig’s installation Ein Fernsehstudio für UTV (A television studio for UTV, 1997) could be read in part as an ironic commentary on Minimalism. A painting with broad stripes also hinted at Zobernig’s interest in color theory, but in the context of the installation, it became a test pattern on a television screen. The colors of the stripes (white, yellow, dark blue, green, dark red, medium red, blue, and black) reappeared on eight monochrome Styrofoam rectangular blocks that were strewn around the space. While Zobernig intended the blocks to serve as

With its limited colors and forms, Heimo Zobernig’s installation Ein Fernsehstudio für UTV (A television studio for UTV, 1997) could be read in part as an ironic commentary on Minimalism. A painting with broad stripes also hinted at Zobernig’s interest in color theory, but in the context of the installation, it became a test pattern on a television screen. The colors of the stripes (white, yellow, dark blue, green, dark red, medium red, blue, and black) reappeared on eight monochrome Styrofoam rectangular blocks that were strewn around the space. While Zobernig intended the blocks to serve as