Last year MAK Vienna presented its comprehensive Otto Mühl retrospective as an emphatically painting-heavy show, though his work as a performance artist filled a good portion of the accompanying catalogue. In Hamburg, whence the retrospective traveled at the instigation of collector Harald Falckenberg, the overall appearance of the exhibition was considerably changed. Here the half-darkened rooms were dominated by eighteen large screens showing what was only peripherally present in Vienna: documentation of Mühl’s concrete actions of the ’60s. The paintings were exiled to dimly lit walls, where