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The tabula rasa corresponds to the revolutionary impulse of starting over: Russian and Polish constructivists, the School of New York in the post-war, Burri, Fontana and Manzoni in Italy, Yves Klein in Paris and the Zero Group in Germany use monochromes in the immediate post war.

Interacting with the work is in it self an act of learning and an opportunity.

The line and the plane not only folded but became the body, expanding the shape of art above and beyond.

The project will feature activities that go beyond looking at art and entering the classroom as passive and hierarchical experiences.

All this is being played out in the group exhibition at the MAK.

Now, over 90 years after the revolution at the Bauhaus, modernism continues to spark a passion in designers and collectors.

These interactions between the artwork, its surrounding spaces and the bodies that interact with it are present through the sixty years in which these artworks were created.

Thus, three strands of thought and action have crystallized within the framework of Future Light: non-penetrating light, the individual subject as reworked by the politics of queer-feminism and its polymorph desires, and the public spherereconceived through and as commons and commoning.

A final installation consists of four 6 x 6 foot structures that make up the Impenetrable Room 2016.

The works of Edgar Orlaineta, also suspended from the ceiling like a Calder mobile, have the appearance of a three-dimensional puzzle with each element playing a vital role in the final composition.