Hence from potpourri subject matter – computer stations monitoring climate changes (Arup), a stack of egg cartons (Eierstapel), and saccharine advertisements (yet untitled) – Tillmans distills greater, universal trajectories. Austere equipment and disposable ephemera become repositories of deeper meaning while the textures of industrial wastelands (Desert) and grapefruits (toronjas) assume relative importance. Unframed prints of varying sizes are affixed to the wall by binder clips or scotch tape to continue the artist’s disregard for visual hierarchies. Finally the abstract Everlast II and Yunxiu Nunnery evidence a new emphasis on quiet materiality. If not for the tabloid racks (magazine rack UK) and modern day vanitas – pathos choked in dirty plastic wrap (still life (Moscow/Berlin) – we would have to question whether or not Tillmans hasn’t left pop culture indefinitely for a more unclouded conceptualism.