Franz West’s exhibition “Plakatentwürfe” (Poster designs) began with instructions from the artist: “As in my earlier Paßstücke,” West states in a wall work directly next to the entrance, “the designs are not merely for reception but rather for interaction.” At once both invitation and interpretation, his introduction marks a shift in emphasis. The Paßstücke—amorphously suggestive hybrids between sculpture, prosthetics, and cult objects—shed light, by virtue of their various use-possibilities, on the relationship between art object and recipient; the “Poster Designs,” 2000—works on paper, wood,