With his work, Rudolf Stingel has made a significant contribution to dismantling the aura of the white cube.

For many years, he has questioned the very definition of panel painting—pushing beyond its limits and inverting the relationship between space and image. One of his key strategies is the use of carpet installations, as seen in notable exhibitions: at the Venice Biennale (1993), Neue Galerie Graz (1994), New York’s Grand Central Terminal (2004), and Mies van der Rohe’s Neue Nationalgalerie in Berlin (2010). In Berlin, he interwove the language of modernist architecture into the grey industrial texture of the carpet while retaining the ornamental Agra motif. His interventions reflect both a "domestication" (Reiner Zettl) of the exhibition space and a deep engagement with its architectural and historical context.
With his exhibition at the Secession, Stingel returns to the white cube, placing three works within the auratic Hauptraum—a space he approaches with playful sensibility and rigorous formalism.