++++ Sometimes you are glad when there is a sign on it, especially when it is a matter of doors through which you otherwise would not go through at all. Or you would go through nevertheless because you are curious and are in an exhibition room and thought that you had entered the gatekeeper's cabin or a broom cupboard by mistake. Such things do happen. In Frankensteiner Hof there is a sign with Haegue Yang's name and the title of the work, Between Critique and Understanding, next to the door opening, so that you can take a peek without worrying. You go down this dark corridor and do not know really what art is. It is like a dead-end, the dirty room on the side. Everywhere there are cobwebs and the paint is coming off. Then you take a look around and see on the right the old clothes hooks, a heater and a small square window. You see dirty patches and cables everywhere. In the corner there is a decayed bird, and Haegue Yang swears that she did not put it there. To the left a spiral staircase seems to lead into nothingness. The room is the only one in the former Municipal Drainage Office which has not been renovated. The 30 year-old artist who studied at the Frankfurt Städel School wanted it to remain that way. The economical but effective artistic intervention is restricted to a manipulation of the neon light. Haegue Yang wanted "that you could see everything". And she wanted "the original dark state to be still perceptible". It is the light which in certain moments poetically transforms the non-place. Suddenly things look different, sometimes creepy. Haegue Yang sharpens our perception by restricting herself largely to what already exists. She looks for improvised means and situations which have resulted from neglect or for practical reasons. She shows how people occupy places and make them their own. At the Kunstverein she is exhibiting two office shelves made of metal which have been rendered unusable by small changes. From now on they are sculpture.