Franz Ackermann, a thirty-seven-year-old resident of Berlin, has constructed a landscape made up of a series of large, brightly colored canvases and some equally vivid wall paintings that centrifugally fling out force lines or, theoretically, are traversed by them. This is fundamentally traditional painting, even when it covers entire spaces, however influenced it may be by the premium that is put on immediacy today. But this immediate impression is secondary to the process of representation that constitutes the true core of Ackermann’s work. What may on the surface appear as an abstraction