With the exhibition by Stefan Sandner, the Secession continues a tradition of presenting the oeuvre or a specific aspect of the recent work of an Austrian artist of the younger generation in a major show. A key element of Stefan Sandner’s work is the examination of the history of Minimalist painting, mainly from America (e.g., Kelly, Noland, Stella, and Mangold). His use of the shaped canvases of Noland or Stella, however, is not merely an art-historical quotation. Instead, Sandner uses this historical “technique” as a reference to the formal language of our everyday media world. Sandner’s interest focuses on the way images—regardless of their origin—are constructed and how they are related. In this sense, Sandner’s new works, in which fragments of hand-written notes (e.g., from Kurt Cobain’s diaries, anonymous scribblings on beer coasters, or private notes from friends) are applied to the canvas in isolation and out of context, can also be read as a meditation on the creation of meaning and (art) history.