Rebecca Warren’s presentation at last year’s exhibition at Tate Britain of the artists shortlisted for the 2006 Turner Prize consisted of two distinct types of sculpture, and the same was true of “Come Helga, This Is No Place for Us,” her first solo show in Berlin. On the one hand, there were three floor-based works consisting of roughly modeled, vaguely biomorphic, but ultimately amorphous sculptures of unfired clay set atop white pedestals. Vigorously worked, they are marked by traces of pale color that add warmth and atmosphere. Considerably more abstract than much of Warren’s previous work

Any attempt to critically deal with this exhibition’s surprising juxtaposition of works by Monika Baer and Thomas Bayrle must first take into account the clear differences between their aesthetic positions: Since the early ’90s, Baer has been developing a thoroughly heterogeneous artistic practice in paintings, drawings, and collages that combines atmospherically evocative techniques of abstraction with figurative elements that have an almost surrealistic effect; the idiosyncratic results are characterized by a linking of the clear-cut with the amorphous and of the visceral with the conceptual,

Although Poul Gernes, who died in 1996, is well known in Denmark, where he exerted a decisive influence on the development of the local art scene during the second half of the last century, his reputation is just beginning to extend beyond the borders of that country. While the colorful panels from his “Stripe Series,” 1967–68, were shown in Kassel as part of Documenta 12, this Berlin show offered a look at Gernes’s earlier work. He made these pieces soon after joining forces with art historian Troels Andersen in 1961 to found the Eksperimenterende Kunstskole (the Experimental Art School), known