With a Probability of Being Seen. Dorothee and Konrad Fischer: Archives of an Attitude focuses primarily on the personality of Konrad Fischer - as a painter, as an exhibition maker and as a gallery owner. The influence of this key figure in the development of contemporary art from the 1960s to the 1990s is presented in the exhibition in three ways: through his own works, through archived documents and through the works of his artists, which he collected together with his wife Dorothee. Numerous documents and photographs, shown in public for the first time, convey a richly faceted picture of Konrad Fischer's activities and a captivating panorama of this great period of contemporary art in the Rhineland. This collection, too, testifies to the consistent attitude that characterised Konrad Fischer, an attitude that cannot be readily explained or quantified in material terms.

Hans Hofmann, a representative of Abstract Expressionism and American Modernism during the 20th century with European roots, had a fundamental influence as a teacher on the development of modern art in America. His brightly coloured paintings, watercolours and drawings can now be discovered in a European retrospective. From 1904 until 1914, the painter Hans Hofmann (1880 - 1966), who was a friend of Picasso, Braque, Matisse, the Fauves and Robert and Sonia Delaunay, witnessed and absorbed the new art in Paris, the centre of European art. In his art school, founded in Munich in 1915, he became a mediator of French modernism and achieved international fame as an art teacher. In 1932 he emigrated to the United States and two years later opened the Han s Hofmann School of Fine Arts in New York. He influenced a new generation of American artists, including Jackson Pollock, Helen Frankenthaler and Barnett Newman.

Entropy seems to be an accepted norm in the world. Confronted with entropy, human action, research, and order are able to offer less and less resistance. But instead of lamenting the impossibility of finishing this project, Lea Grebe's art proposes a new perspective through the interface of science and technology. Over the years, she has built up an archive to document dead insects-where they were found, how they were found, and what state they were in when discovered. The insects have been cast in bronze in an elaborate process. By being transformed into durable material, it seems as if the creatures have undergone a final metamorphosis, in which they take on an ultimate, artificially maintained appearance. The emphasis on the individual and what is individual is evidence of the search for a new, ecological, empathetic way of thinking that honours the independent and inimitable.