The work complex Mutterseelenallein
consists of sixteen large glass-fronted display cases, tapered towards the rear.
Fifteen balck-and-white photographs of " seats for attendants and vistors
at the 'Grosse Duesseldorfer Kunstausstellung' shot at the Kunstpalast Ehrenhof in Duesseldorf on December 30, 1979," are mounted, each in its own little window display,
inside the glazed cases. In the sixteenth case the little window reserved
for the photograph is empty. The vitrines are made of wood, lined with grey felt, and
edged in front with sections of aluminium that function like a frame.
Sections of aluminium also traverse the front of the cases ... starting at the
introductory title page and photo, ... after every third case, an up-ended, rectangular
box of milky white transparent PVC, with fluorescent lighting inside ... the
panels of parquetry mounted at the back of the vitrines - forming the ground,
as it were - which match the museum flooring.

- Description of the Installation by Max Wechsler, in MMK catalogue

To overstress the interpretation somewhat, we might add that Mucha's parquetry support ultimately functions as a support for the museum structure. The wall supports the picture but it is the picture that invest the wall of the museum with its function.

-ibid., footnote 6.

Reinhard Mucha's room in the museum thus serves as an introduction to what for contemporary art can offer in way of paradigms for thought and experience.

- Jean-Christophe Ammann, MMK Mutterseelenallein  leaflet

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