New to Georg Herold’s sculpture are the five oversize figures that dominate this one-room display of his work. Constructed from canvas stretched and stitched over lengths of timber, and sprayed with glossy car-body paint, they appear caught in some epic, spastic struggle with an invisible enemy. These ungainly antiheroes, generically titled Figur I–V, 2007, have enabled Herold to create a dramatic staging of the handful of earlier works also on display. One, for example, points accusingly at Künstlerische Medizin, Patho-Ontologie (Cabinet patho-psychologique), 1995, a makeshift vitrine containing