an updated process doesn't always improve the resulting work

Result #1

an updated process doesn't always improve the resulting work.The most memorable piece was, paradoxically, a monument to the lost capital of Berlin, the city that was the capital of unification in the late eighteenth century, and that was then divided between the Federal Republic and the East German Democratic Republic. For the Berliner, this meant the end of the nineteenth-century-capitalist era and the birth of a new one, in which the city, with the help of the East German parliament, was divided into two. The citys new inhabitants—including some of the citys former prisoners—were asked to construct a new capital city for their new country. The first, Berlin, was constructed in the center of the former prison camp, the Berliner city. The central section of the building is a column with two piers, one pointing toward the future and the other, toward the past. The center has been transformed into a prison, with a replica of the Berliner city hall—a blackened shell of a building with a history as a fortress. A wooden frame encloses the past. The same prison was used by East German citizens as their new home during the cold war. The past is an imprint that no longer serves as a record of past actions, but rather represents a history of acts and crimes. In Berlin, the past has been transformed into a history of crimes. It is no longer a record of past actions, but rather a history of crimes. The citys new capital city is a crime scene. It is an echo of its past, and it is no longer a reflection on past crimes. Berlin is no longer the city of the future, but rather a prison, a historical monument to crimes and crimes. The Berliner has lost its former self-image as the city that stands in history. It has lost its past as the past. It is no longer the city of the future, but rather a prison, a historical monument to crimes and crimes. The citys new capital city is a crime scene.

Result #2

, but it does open it up and allow for the possibility of further experimentation. The show was a lively one. And it was a great one.

Result #3

an updated process doesn't always improve the resulting work. This may be because there are moments when the sculpture is too imposing, and the effect is too contrived. More often, though, the results are too spare and well-executed, and the paintings are too self-consciously composed. The surface is too light, too flat, and too easy to read. The paintings, by contrast, are more defined and clear. The sculpture is more attractive and assertive. The sculpture, however, is too much, and the paintings are too minimalistic. The sculpture, too, is too much.The works that were the most interesting were those that showed the most variation in surface, color, and manner of handling. The new pieces were also the most effective. They seem to be more sculptural than the earlier pieces, and they are more lively. The color, too, is brighter and more varied. The new pieces have a greater variety of surface, but it is the variety of color that brings the viewer up to a new level of visual interest. The works are more self-conscious and more direct. The sculpture, too, is too much. The paintings are too minimalistic. The sculpture, too, is too much. The works are too much. In these pieces the sculpture is too much.The three other new pieces were almost all white. The pieces were not only the most successful, but also the most complex. The white pieces were all of the same size, and each consisted of a single piece of wood, painted white. The pieces were not arranged in any order, but were arranged in some way. In one piece, a square of white wood was placed over a square of wood, and the wood was painted white. The white wood, however, was painted white; in the other piece, a square of white wood was placed over a square of black wood. The white and black pieces were placed side by side. The white piece was on top of the black piece.

Result #4

, but in this case, the compositional structure of the installation made for a persuasive argument for the art-making process as a central aspect of the artists practice.

Result #5

an updated process doesn't always improve the resulting work. A well-known example is Stereopolaroids, a group of four sculptures made of wood that the artist put together according to the same principles as the rotating metal cylinder used in the installation. The result is a series of three-dimensional images—a middle-aged woman with a white handkerchief, a white handkerchief, a white handkerchief, a handkerchief, a handkerchief, and a handkerchief—that evoke a myriad of images and meanings. The handkerchiefs and handkerchiefs are interchangeable, and the handkerchiefs are part of a conversation with the handkerchiefs. The handkerchiefs are the same one that the artist took out of her purse and placed on a towel rack, so that it looks like an ordinary white towel, but the handkerchiefs, which are identical to the handkerchiefs, are made of different materials, and are thus not interchangeable. The handkerchiefs are two-dimensional, so the handkerchiefs, placed side by side, look like two hands, one of which is white, the other black. It is as if the handkerchiefs are seen from the back and the handkerchiefs from the front. The handkerchiefs are also placed side by side, in a way that implies the same relation between them. In the installation, the handkerchiefs, while not interchangeable, are still very similar. As in the original installation, the handkerchiefs are placed in the same room, and the handkerchiefs are placed at a distance from the wall. They are also the same handkerchiefs that were placed on the towel rack.In the end, it is the repetition of these elements that makes the works so successful. They are all the more striking because they are not repeated.