at the Kunstraum Neue Kunst in Hannover, her diagonally arranged wall pieces mirrored the lavish green space outside the windows into the room where it appeared as delicate, ephemeral green.
This way Karin Sander draws attention to the specific situation the observer is in and, furthermore, makes it possible to constantly change the perspective of what he or she is seeing by means of simply moving in front of the wall pieces. Sander’s wall pieces are picture puzzles, working in all respects with the given surroundings and offering the possibility to learn something about the place itself, its dimensions, and its materiality – and to learn what a picture itself is.

This is by no means meant to be didactic. Karin Sander does not want "to break down seeing habits" or "to sensitize ways of perception" – since there is no way her delicate wall pieces can cope with the excessive demands of subtly differentiated seeing within the overwhelming diversity and rapidity of everyday visual sensations. And they are not supposed to do it either. By marking a strange interim between existence and non-existence, they show what could be, but which usually remains concealed, and what can be created by simply taking something away. All of Karin Sander’s work is an examination of interim and permeable areas and therefore an investigation of the never clarified relationship between inside and outside.

The shining white passages separating the rows of houses at Lódz, gleaming out of the gray-on-gray facades like lighted ways to other worlds but - like unredeemed promises – leading only to equally gray backyards, manifest by their being not redeemable the existence of spaces, manifest the fact that the obvious is neither solid nor impermeable, that there are, in a word, passages, passages also between the different periods in Polish history.
Painting the gray passageways a gleaming white also refers to the deletion of history which almost automatically comes with the establishment of new conditions and changed circumstances.

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