A circular, opaque, and powdery white heap hardly a centimetre high, the work Wormcomplex (1997), a circle of approximately four metres across, lay there unobtrusively. On well-attended days it was initially made out only by the people lining its borders, pressing forward, attracted to that seemingly empty centre, of which the purpose was not quite clear. A decentrally projected, pale-green spot glowing on the white surface replicates the outer circular form on a smaller scale, thus using the simplest of means to suggest an abstract composition. At first glance in fact one could easily have taken this documenta X contribution by Martin Walde to be a dry sculpture without a pedestal, rigorously composed to minimalist standards, and embellished with a chromatic, bodiless counterpoint. Enough cause for irritation remained nonetheless: This reductionist piece seemed too bedraggled for contemporary minimalism, its contours smudgy in places and its interior marked by the fingerprints or even footprints of observers who evidently had no sense of distance. Apparently this type of "encroachment" was not even forbidden. This, however, was not very clear. There was no specific sign, and the supervisory staff reacted inconsistently to such incidents. Ultimately, viewers themselves had to decide on how they wanted to behave around this piece, or how they believed it w as required of them to behave.