The group exhibition Hardly Anything presents ‘the void’ as a deliberate conceptual and aesthetic omission, as synonym of respite, concentration and a new beginning. Curator Christine Nippe focuses on the young Berlin art scene and presents works by Natalie Czech, Tatiana Echeverri Fernandez, Maria Eichhorn, Martin Hoener, Susanne Kriemann, Pia Linz, Thomas Rentmeister and Jorinde Voigt.

They show us the void in delicately shimmering canvases, such as in Martin Hoener’s works, where bright areas of colour have been painted over with white oil paint, or as a blank fragment in Pia Linz' drawings of Mile End Park in London. Other works deal with the void in a conceptual way; Natalie Czech captures invisible traces of dust from museum storerooms on photo paper and Maria Eichhorn shows the ‘four corners of a removed sheet of paper’.

In Jorinde Voigt’s work eight wooden black bars represent a radical omission by reducing characteristics of individuals to the most extreme. Only the word "brown" written on the white streaks still reminds one of the eye colour. Thomas Rentmeister concentrates on experimenting with apparently profane materials such as sugar, straw or cotton cloths - hardly anything - and explores the boundaries of sculpture, while Susanne Kriemann’s photographs document the abandoned library of a former prestigious construction project in Sweden, the Saltsjöbaden observatory. And once again it seems as if the void could open spaces offering new possibilities, which are there to be conquered.