If it’s true that Andreas Slominski is a setter of snares, one who stages his work as a crafty, tricksterish game to be played with the viewer, he set a particularly big trap with his parallel shows in the Berlin galleries Jablonka and Neu. And he did this in his usual way: with minimal investment of resources and maximal success, but above all by using large quantities of black humor. At Jablonka Galerie there was nothing to see except for five monstrous garage doors, fully functional and ready for delivery with shrink-wrapped keys. Yet these doors were hung in such a way that they could not

The method Thomas Demand has been using since the early 1990s to produce his often large-scale color photographs has become well-known: The Berlin-based artist and his team generally begin with press photographs, which they use as starting points for constructing detailed replicas of interiors, historical moments, public spaces, nameless buildings, and natural scenery. Demand then photographs these models, labels them with the most generic titles imaginable, and mounts them behind reflective Plexiglas via the Diasec process. These static tableaux are invariably missing certain details of their