Both photography as object as well as institution as framework have been the focus of my investigations since the start of my studies. I dealt with both these topics in the final examinations. Theoretically I dealt with Jaques Derrida’s term ‘Parergon’ which I brought in relation to the designed utopias of two contemporary artist’s; Andrea Zittel and Tomás Saraceno. The parameters for my practical piece were photo prints, unframed paper, objects taken from my collection that for several years had acted as a sort of modular system, and secondary materials e.g. from the packaging industry. In the case of the installation The Window these materials in combination to a set of new elements (rice paper figures, a flag-curtain object, pieces of metal) had been placed together to created a floor-level landscape reminiscent of a place of personal importance. Photographic impressions of my uncle Fred’s desert garden were arranged in a fragile condition on the grid of the tiles of Room 3 at Zollamt Offenbach. The thin photo paper was exposed by being vertically inserted into polystyrene figures, partially stabilized only by means of a plastic sleeve. This was accompanied by a magazine, a photo essay compiling the stations of a community, which once would set up a refuge in this very place. The flag, without a clear symbol, acts as a banner and as a curtain, a protective visor for this wavy movement.