Günther Förg studied art at the Academy in Munich from 1973 to 1979. He held his first individual exhibition in 1980 and since then has worked simultaneously in disciplines as apparently remote as painting on any imaginable support -canvas, wood, copper, aluminium, lead- and the variants in graphic work and water-colours; sculpture, in plaster on wood and in bronze; photography, almost exclusively of architecture and portraits of women. The common denominator of his output in the different disciplines is his obsession with space, a concern that is clear when we see how, without singling them out, he interweaves the pieces that come from different fields in his montages, and how they are in themselves an introspection into the room, which is why he does not hesitate to paint the walls and include mirrors that reflect and repeat works, so that, as has been said, the place is turned into a picture. Moreover, the layout and composition of his catalogues have a certain peripatetic character as if the reader were travelling through an exhibition room rather than turning the pages of a book. Förg himself has described the variants of his work explicitly and didactically: "I turned to photography so that my work would be closer to 'reality'. Water-colours provided me with an opportunity to follow the tracks of mural painting. Later, the structure of certain water-colours is transferred to the bronze relief. And the principles of the reliefs, for their part, are reflected in my drawings and graphic work." A number of critics have agreed on placing his personality and work at the centre of the last agitated conflicts between Constructivism, Minimalism, Arte Povera and Conceptual Art, and at the opposite pole from the pictorial neo-Expressionism that seemed to be dominating the German scene in the early eighties.