This still-life has various shapes. It depicts various objects in dark colours with a bright red cloth. Painting is dark with hazy monotones.

Result #1

This still-life has various shapes. It depicts various objects in dark colours with a bright red cloth. Painting is dark with hazy monotones. Another color, a red one, is layered on top of this, covering the whole surface. The cloth is a red leathery one, implying a kind of skin. Another, a white one, covers a part of the rectangle. A red one, a white one, is on top of it, also covering the whole rectangle. This red one, too, is almost transparent, implying a skin, and is part of the lightness of the painting. A third, a white one, is on top of it, covering the whole rectangle. This white one is covered by another, a white one, a dark red one, and a red one on top of it. The third is a light yellow one on top of it. The four other objects, with their various parts, are all part of the same rectangle. They are also all black and white, except for one which is red. The only red one is the one on the far right of the painting, with a portion of its white side. The other three objects are the same rectangle, but they are different ones. One is a brown one, and the other two are black. The one on the left has a red-orange on its right. The one on the right is a green one with an orange on its left and a white one on its right. The third object on the far right is a brown one with a red one on its left, and a white one on its right. The two objects in the middle are black. They are still other objects, and the rectangle has been divided into three smaller ones by their respective sides. The red one is the one on the far right, and the other two are white. They are all blue. The other three are all red. The whole thing is painted red and black. The red rectangle is the rectangle, and the red rectangle is the object.

Result #2

This still-life has various shapes. It depicts various objects in dark colours with a bright red cloth. Painting is dark with hazy monotones. It looks like a film still, with the image cut out. The image, a woman in a suit, looks like a mime. The suit looks like a head. The cloth is a turtleneck with white clothes. A red blanket spreads out on the floor.The woman in the suit has her face hidden, and the shirt shows her bare breasts. She is wearing a scarf. She is being followed by a man, but she is too intoxicated to know who. She looks like a doll. The scarf is the scarf of the woman in the suit, and the woman in the suit is wearing it. They are both wearing layers of clothes.The woman in the suit has a cup in her mouth, and her face is covered by her hat. The hat is painted red. She is being followed by a man who is wearing a white dress. He is a man in a blue suit. He stands with his hands in the air. He holds a red scarf. The woman in the suit looks like a mannequin, and she is covered by her dress. She is being followed by a man who holds a red scarf.The woman in the suit has her hand on her hip, and she is looking at the man, who is looking at her. She seems to be saying, Im here. I will be here. She is very sexy. The man in the suit is standing on the floor next to her. He holds a red scarf. Her hand is upraised. He is on the floor in front of her. She is holding a red scarf.The man in the suit is in front of her, and she is looking at him. He holds a red scarf. Her hand is upraised. He is on the floor in front of her. She is holding a red scarf.The man in the suit is standing behind her. She holds a red scarf. Her hand is upraised. He is standing on the floor behind her.

Result #3

This still-life has various shapes. It depicts various objects in dark colours with a bright red cloth. Painting is dark with hazy monotones. In this still life, as in many others, the objects are in the shape of a circle. They are all the same size, but they are as wan as a canvas. It is as if they were made by a sousaphore for the horn.The still-life is a group of black and white photographs of empty chairs, a bottle, a pair of shoes, a sheet of paper, and a row of paper towels. The objects are not, of course, visible, and they are submerged in the indolent, largely monochrome fields of the pictures. The chairs, the bottle, the shoe, and the towels are all half-empty. The chairs are made of oak, and are generally of the same height as the actual, real objects they represent. They are arranged in a line, with the top and bottom sections the same distance apart. The bottles are made of a translucent polyethylene plastic, the shoes are made of a black polystyrene, and the sheet of paper towels is made of paper. The objects are empty; we are left with a very small, very bare, but rather elegant, table with an empty bottle. It is a curious table, and not very much use is made of it, save for the very strong physical presence of the table. The only use is implicit, that of the table itself. The objects are all there, but they are nothing we can touch, so nothing is done with them. They are merely there, and nothing we do with them. The table, as a table, is, in its objectlessness, a very powerful object. The table is the object of its own presence, and a very rich object. It is a very sculptural object, but it is not a simple geometric object. The objects are all the same size, and the table is no larger than the objects that comprise it.

Result #4

This still-life has various shapes. It depicts various objects in dark colours with a bright red cloth. Painting is dark with hazy monotones. A yellow hand is both an illusion and a hand in a mirror. The scene is an abstraction and thus formal. The object, the painting, is a formal abstraction that is actually a drawn object. But it is the light of an idea that lights up the subject. The notion of abstraction, in a formal sense, is itself a formal abstraction, but it is a formal abstraction. If one wants to see the paintings again, they will certainly be different. In any case, it is not necessary to understand the work. The idea is already abstract. In a sense, the work is already abstract.One wants to see this work again. Then one realizes that the idea is already abstract, but one cant immediately see this. The paintings look different and in a way, the idea is no longer abstract. It is no longer an abstraction. One cannot feel the paintings as abstract paintings, but only as representations of abstraction. The work has changed. This is perhaps not surprising, since abstraction is not something one expects to see in a gallery. But one does see the work differently. One perceives it differently. This is an effect of the new paintings, which are almost all opaque. The result is a sense of transparency. The light of the paintings is reflected in the paintings. The white walls reflect light. The paintings are opaque. They look like opaque windows. They are windows in the abstract sense of the word. They are not just windows, however. They are mirrors, like the ones that do not look into a window, as in a picture. But in these paintings the space is not exactly rectangular. The walls are sometimes tilted. The colors in these works are not directly apparent; the objects, painted on top of them, are abstracted. This also relates to the paintings which are not opaque, that is, the objects are not flat but rather covered with layers of paint. In this sense, one sees the objects as translucent.

Result #5

This still-life has various shapes. It depicts various objects in dark colours with a bright red cloth. Painting is dark with hazy monotones. In the other work, a silhouette of a female figure appears in the foreground and a pair of hands are shown on the wall. The silhouette is visible from behind, but the hands are veiled behind a black cloth. The hand is clearly visible, but it is an aloof, sarcastic one. They seem to be holding a mirror. The shadow is that of a hand with its finger in the middle of the cloth, as if it were groping for something. In the foreground, the shadow of a hand is peeking out of the cloth. The fingers are dark and barely visible. The hand is fake, but its form is vaguely reminiscent of one of Rauschenbergs.The picture, which is on a monitor, shows a still-life of the same size. A white cloth, which covers a grey background, is arranged in the foreground like a backdrop. On the ground, a hand holds a second hand, the one of a white-faced man. A smaller version of this same scene appears on the monitor. The hand is placed on the cloth, and the cloth is a dark red. The black cloth is covered in an electric green cloth; it is also covered with a dark red. The electric green is the same red as the red cloth. The image seems to be being pushed to the point of visibility, and the more the red becomes more visible, the more erotic. But the man in the red cloth is no longer the man in the red cloth. In this case, the red is the same red as the red cloth, and the red is visible only in the mirror image, the mirror image of the hand. On the floor, a black cloth is stretched out and stretched, like a dress. It is the same black cloth that is in the foreground. The red is the same red that the woman in the red cloth is wearing.In the show, the work was accompanied by two videos, both from 1984.