It is difficult to explain why the sheer surface is enough for Heidi Specker to evoke space, why the image-filling detail of a brick wall is enough for her to let the viewer enjoy all of Mies van der Rohe's architectural sophistication. One constantly asks oneself, what is she doing with the camera that her photographs, which are decidedly minimalist in terms of motif, tell so much? She doesn't show the whole armchair, but only one corner. She doesn't photograph the house as it lies in the middle of the garden that stretches to the lake, but only the reflection of a few trees standing by the water in the glass front of the house. She does not photograph the cupboard, but only a piece of its natural rosewood grain. She abstracts Mies van der Rohe and, paradoxically, thereby succeeds in making the most precise and concrete statements imaginable about his architecture.