For his current series of "Salt Leaves," Jan Schmidt was on the Atlantic in the spring of 2020. During a ship's voyage, he scooped up salt water, every day, with the support of the crew — at least when the sea state permitted it and the ship made appropriate distance. He put this water in small drops on a sheet of paper: this is how dots of salt crystal were created. These "daily" sheets form today as a series a documentation of his journey, combined into wonderfully minimalist gems.

Anyone familiar with Krause's work knows that he engages in a daily cycle of the same processes. Sharpening pencils, drawing lines, sharpening knives, or even priming a sheet of paper. He carries out the process until it comes to an end: the alternately primed paper eventually becomes so heavy that it can no longer be turned over without difficulty. Now, after 20 years of priming, he has created a new group of works from it.

Finally, by Masanori Toyoda, the museum's collection houses three wonderfully restrained works. Toyoda places marks on his sheets that seem almost random and yet are precisely placed. The expanse of possibilities is in tension with the reduced execution, the settings that emerge reminiscent of graphic notations and scores. A game emerges in which each setting is weighed against the whole, what is, but also what is yet to come.

We would like to thank Galerie Friedrich Müller for the loan of the works.