The tangible presence of these works act like an homage to the mysticality and exactitude of art. It is a strong gesture on the curator's part, but not exactly a successful one. Although, symbolically speaking, a powerful link exists between these large canvases and the works displayed from the next room on, the connection is not explicitly made in the exhibition. The powerful emotion produced by these works is not contagious and no relationship is triggered with the modern-day works.
What does excite, literally and just a short distance away, is one of the first works encountered, Martin Creed's The lights going on and off, a number of light bulbs projecting light all around, irregularly and intermittently. Rather than eat into the space, Creed, a sophisticated inventor of minimal objects and signs, decided to bring the onlooker's perception of space and time into play.
Curiger wanted to give the artists a lot of space to exhibit expansive bodies of works. In many cases, they have whole rooms but, even when the spaces are shared, the relationship between the works is clearly developed, suggesting a desire to make the route intelligible