In his sensitive study Zeit Skulptur (Time Sculpture, 2002), philosopher Paul Good argues that Roman Signer’s event-sculptures should be understood not as relics of past events but as manifestations of differing orders of temporality. Time represented mathematically plays a certain part, but most important, Good proposes, Signer’s work presents the experience of time as “quality rather than quantity, as intensity rather than extension.” Signer’s sculptures “are set back into their coming-to-be” so that future and past flow into one another, making the invisible, inexpressible mutability that’s