On Kawara began the ‘Date Paintings’ on 4 January 1966 and continued for nearly five decades. Kawara produced simple, two-color acrylic paintings to document each day he woke up alive in the date, language, and format of the place in which they were made.
He made almost 3,000 of these paintings in 112 different cities between 1966 and his death in 2014, with the body of work serving as an examination of the banality of existence and the passage of time.

The Italian piazzas designed by Giorgio de Chirico are metaphysical places in which time is suspended – places of absence where de Chirico, with a fixed photographic framing, constructs urban still lives.
Through perspective, de Chirico frames in a unitary space the fragments of the past and visions of the future. De Chirico took a very private path through the new possibilities, inventing a "Metaphysical' symbolism with dreamlike fantasies of deserted piazzas, strange.

Bettina Pousttchi works with sculpture and photography. Her site-specific photo installations consistently challenge and expand the formal and conceptual possibilities of photography and often occupy entire building façades. Pousttchi’s sculptural works often developed from street furniture like street bollards, crowd barriers or bike racks.
Vertical Highways are transformations of crash barriers, and they change the viewer’s spatial perception and give the work an architectural reference. Taking the structures used to establish order in public space, these works address crowd control, a theme that is more topical than ever at present.

Clare Woods’ distinctive paintings, which are rooted in the English landscape tradition, have expanded into a wide visual language that includes still life, interiors or portraits and figures. The paintings are based on photographs that are sometimes from the artist’s own collection and at other times grounded in imagery from newspapers and magazines.
The original photographs are cropped and edited by drawing through the forms to remove elements of them. This physical breakdown of the image entices the viewer to question their ability to decipher the content of what is in front of them, and to question what it means to live in a time of the mass consumption of imagery.

The artwork by Allen Jones constitutes not only a vigorous refusal to back down from his lifelong pursuit of erotic imagery centred on female bodies but also a sense of movement and magic inherent in Gods.
Like the astoundingly fresh paper cut-outs made by his hero Matisse during the decade preceding his death, this late flowering of the arist displays a youthful vigour, invention and joyful sense of abandon that easily match the trailblazing Pop Art on which Jones staked his reputation and place in art history in the early 1960s.
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