The title, Im Dunkeln sieht man die Licht, proposes a reflection regarding some basic dualities such as light and dark, doubt and truth, wooliness (or worse, sloppiness) and precision. Light is the condition for things appearing, just as information can be a raw material of knowledge. The idea is probably also to stress how information can merely through its presence mask another reality of possibly equivalent value. The information present – light – would then prevent access to elements which, being kept outside the area under scrutiny, would be deemed of secondary importance, if not denied altogether. It is also a matter of drawing our attention to the actual packaging, regardless of any particular object. The second part of the 20th century has shown how a history of exhibitions followed, or even supplanted, a history of art that had been first and foremost a history of the works. Thus, Liesman does not stage the works with a concern for making them stand alone, but in function of their ability to generate a kind of decor, an ability that would seem to serve as an organising principle.