Everything in Imi Knoebel's work is about space: the space the various elements iccupy and the space they create. One might also explore the condensed and palpable presence of emptiness which ultimately defines or fills the space. Concepts such as picture, space or emptiness-not unproblematic on their complexity-should be read as concretely as possible, especially since Knoebel's art manifests itself in a physical, almost craftsman-like objectivity despite its invitation to metaphysical speculation. The work might be said to articulate space by defining its surroundings through clarity of shape and turning them into a kind of traversable frame, which in turn affects the appearance of the picture. In other words, the interaction between picture and space establishes a dialogue that can be perceived by the viewer as a field of tension, both visually and mentally. As in White Constellation the work itself does not necessarily play a dominant role; instead its discreet presence enlivens the space that has been allotted to it.

Max Wechsler goes as far as writing that: "strictly speaking, it would be a mistake to interpret Knoebel's work in space as "installations." They are in fact "picture exhibitions" that establish a dialogue with space or incorporate space as opposition to their concept." (Max Wechsler, Imi Knobel: The Surveyal of Sensations, Parkeet 17, 1988, p. 14-18).