Looking at the list of participants in the exhibition “Keilrahmen” (Stretcher Frame), you would expect a decent survey of painting from present-day Berlin. Among the seventy-four names on the checklist were artists as varied as Armin Boehm, Willem de Rooij, Rainer Fetting, Anton Henning, Olaf Holzapfel, Maja Körner, and Anne Neukamp. The show was part of the manifestation “Painting Forever!” in four Berlin institutions: KW Institute for Contemporary Art, Berlinische Galerie, Neue Nationalgalerie, and Deutsche Bank KunstHalle, each presenting its own angle on painting. KW chose to present one

“I prefer to be on this side,” Seiichi Furuya’s second exhibition at Galerie Thomas Fischer, is as much about borders as it is about loss. Intentionally or not, Furuya has become the chronicler of two histories—one private, one public—that intersected for a while, then both disappeared. His biography and his work are inseparable. In 1973, at age twenty-three, the photographer left Japan for Austria. In Graz in 1978, he met Christine Gössler, a student of art history and later an aspiring actress. They married a few months later and in 1981 had a son. From the beginning, Furuya felt