In many of his works, Liam Gillick concerns himself with spatial interventions. In his case, these are works that alter or re-define a given room through the installation of a prefabricated, unique piece of sculpture. Frequently, this takes place by means of aluminium and Plexiglas elements, which, in the simple and precise way in which they are produced, could be both part of the pre-existing architecture or, because they are liberated from functionality, a type of decor. In many respects, these objects are effective because of this bivalence and substitution of one aspect – the employment of form and colour liberated from primary function, a place where modernist architecture, and what follows, usually fails.  

This is, however, exactly Liam Gillick’s quality – he appropriates these means that in turn come from construction production processes and are not craftsman-like in any way. Thus, the works are neither “stuck on” nor overbearing, but unfold their elegance and impact subtly and enigmatically in the room, entering into a symbiotic relationship with it.

Paul Katzberger, 2005 (translation: Tim Sharp)