With objects in mirror are closer than they appear, max goelitz presents a dual-site group exhibition in Berlin and Munich that investigates variations, shifts, and feedback loops as both formal and conceptual principles. The works emerge from processes of reflection, translation, and repetition, forming cycles in which perception, consciousness, and material continuously transform one another.

The title borrows from the familiar warning on rearview mirrors, reminding us that perception and reality do not always align. In this context, it becomes a metaphor for the fleeting nature of the visible, where material, meaning, and medium merge, and observation itself turns into an act of transformation.

Positions from the 1970s that were formative for the development of Process Art engage in an open dialogue with contemporary approaches to the mutability and autonomy of the artwork. Gary Kuehn and Michael Venezia represent a generation that radically questioned and expanded the language of abstraction, negotiating a delicate balance between formal rigor and procedu- ral openness. In contrast, the younger artists Lou Jaworski, Sophronia Cook, Dorota Gawęda & Eglė Kulbokaitė, and Nicolás Lamas intertwine material, body, language, and technology, exploring new territories between tangible presence and digital projection.

The exhibitions are unified by an architectural design of matte stainless steel panels that subtly refract light, movement, color, and space. Within these reflective environments, the artists investigate the continuous shifts in perception and meaning, while gestures, narratives, and temporalities overlap and their duplications and distortions generate complex relationships between body, material, and surroundings. Across generations and media, the two exhibitions reveal how historical approaches to process and reduction intersect with contemporary strate- gies of boundary-blurring, hybrid materiality, and digital mutability.