a work of Wim Warrink can be seen in the Tschumi pavilion. Or rather, atop and below the pavilion. In doing so, he becomes the first artist in almost thirty years of its existence to leave the Glass Video Gallery, as Tschumi himself named it, completely empty. Warrink draws attention to the pavilion itself. He delivers a compact, rectangular framework which magnifies the architectural tension inherent to the pavilion, while also visualizing the deconstructivist paradigm from which the work is born. Hommage to Tschumi’s design (and to the last great architectural development, which has earned its place in the books through more than stylistic merit alone).