Broad, densely tangled brushstrokes pile up on the surface of the canvas. They compose an impenetrable green wall that hangs threateningly over a small, scattered group of people. In Wilhelm Sasnal’s Forest, 2002, painting alla prima reveals itself through its rapid gesture and simultaneously blocks out every image that could be hidden in the background. The young Polish painter has produced an enormous quantity of work since 1999, and a large selection of it was here presented for the first time in a public institution.

Behind the narrow, labyrinthine entrance to the exhibition waited a forest