In his exhibition at the Secession, Dike Blair presents around fifty paintings. Most date from the years between 2010 and 2015, and with few exceptions, they depict the motifs listed in the prosaic title of his show. Three sculptures the American artist designed for the exhibition are arrangements of the titular four elements—floor, door, window, wall—but were also a response to the fact that his exhibition occupies four rooms. (In a fourth small room with no sculpture he shows small paintings of drinks and ashtrays, the subjects of his artist’s book.) He conceived of the sculptures after an earlier visit to the Secession, hoping to generate an interesting circulation pattern to view the paintings. He also likes the paradox of illusionistic representation vs. concrete abstraction. Unlike Blair’s pictures, which always operate within the representational register, his sculptures transform concrete objects such as a (freestanding) wall, a windowpane, a door leaf, and flooring materials into abstract compositions. The paintings, which show one of the four elements in isolation, are grouped by motifs, while the sculptures unite all four in a larger whole.