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This catalogue accompanies a touring exhibition held at Museum Folkwang, Essen, Germany on March 4-May 29, 2016, at Martin-Gropius Bau, Berlin, Germany on June 11-September 18, 2016, at High Museum, Atlanta, Georgia on October 16, 2016-January 8, 2017, and at St Louis Art Museum, St Louis, Missouri in Fall 2017.

Anish Kapoor's sculptures represent an important position in contemporary art. Born in Bombay in 1954 and living in London since the early 1970s, he combines Western and Eastern influences to create special work. He became famous with large-scale sculptures in public spaces, most recently on the occasion of the Olympic games in London in 2012. His multi awardwinning work (1991 Turner prize) has been exhibited worldwide since his first solo exhibition in 1980. The monograph gives a concentrated overview of his diverse oeuvre of the last 40 years, from the pigment works to the mirror works and large polished sculptures. In the main section, the temporary, site-related works in the Martin-Gropius-Bau, such as the "....." in the spectacular, central hall, are documented in sketches, models and installation photos. These new works, which impressively frame the architecture of the Martin-Gropius-Bau, are elaborately illustrated and elucidated.

Only an idea has the power to spread so far." Ludwig Mies van der Rohe The Bauhaus, one of the icons of modernism, was controversial from the start--not only because of internal strife, but also due to critique or enmities from the outside. And the controversy did not end with the closure of the Bauhaus itself. Yet nothing else revealed Bauhaus ideas and ideology as well as these confrontations did. Through them, the basic issues of the modernist program became clear. It became obvious that there was no such thing as one kind of modernism, just as there was no ONE Bauhaus; instead, there were different, contradictory, and even oppositional movements and positions: the Bauhauses. Few cultural movements have been as politically instrumentalized as the Bauhaus has. These controversies reflect the relationship between politics and culture in the twentieth century, and hence, the history of the construction of German identity.

Empty highway bridges, gigantic concrete pillars, tracks for the Intercity railway--all devoid of humans and bathed in cool winter light. The theme of these striking images captured by Leipzig photographer Hans-Christian Schink is the massive road-and-rail infrastructure program for eastern Germany, projects designed to transform it into "flourishing landscapes." Schink's photographs map the violent incursions into the surroundings--"monsters of infrastructure," as the German daily newspaper "FAZ" aptly put it--as technology has cut and sliced its way through the countryside. All scenes are shown from the pedestrian's perspective, often at points destined to be bursting at the seams with traffic in the not-so-distant future. Yet despite the cool sobriety of these photographs, one also recognizes allusions to the landscape paintings of the Romantic period in images such as a roadbed disappearing into the distant mist.

"This volume is published for the occasion of the Getty's citywide grant initiative Pacific Standard Time: Art in Los Angeles 1945-1980 and accompanies the exhibition Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture 1950- 1970, held at the J. Paul Getty Museum, Los Angeles."