In 1992, just when a series of attacks on refugee camps was forcing a reunited Germany to confront its history anew, Adrian Piper made her first significant appearance in the German-speaking art world, with a solo exhibition at the Kunstverein München. The scandalous implications of the incidents at Hoyerswerda, Rostock, and elsewhere had a disturbing impact on the nation's liberal self-image, despite attempts by the media to minimize the events as acts by individuals. In this context, Piper's images and texts scored a direct hit, powerfully stirring many observers.

Now, ten years later, Piper's

Nothing disquiets the Turkish quite as much as large bubbles in their coffee.

Small bubbles are good and portend health or fortune, but the big ones are a bad sign. And so one must burst them before drinking. “Killing Space” is how Ayse Erkmen, a native of Istanbul who lives part-time in Berlin, describes this bubble-bursting. Space vanishes and with it, misfortune. In the foyer of the Wiener Secession, a slide projector beams large circular images onto the rosette in the entryway: Cups filled with Turkish coffee, photographed from above, invite us to participate in the foam-blowing oracles. With