Christian Philipp Müller’s recent exhibition, “Imagetransfer,” offered a manifold consideration of “place,” addressing Cologne’s status as a city of culture, issues of cultural sponsorship, and the often freighted relationship between economic and cultural activities. The show consisted principally of two installations featuring framed drawings, file folders, and high, white plinths that could stand alone as Minimalist sculpture.

In both works, the drawings were hung in a grid formation on a wall in front of which Müller posed one of the white podiumlike stands. Two campaigns produced by the