For six weeks, Constantin Luser lived and worked in the Christine König Galerie and filled 132 pieces of paper nailed to the wall with drawings in green and black fineliner. Even the panes of the display windows became part of his “Panoptikum,” as the exhibition was called. The drawings were like pages of a mental diary where chains of association emerge, dovetailing events and discoveries, where images reminiscent of anatomical or technical drawings mix with phrases like “field of attention,” “community-cloud,” and “thought-wanderings”—concepts that circle around the artist’s activity