Passageworks can be perceived as an independent follow-up to two renowned exhibitions, Implosion (Moderna Museet, 1987) and Trans/Mission (Rooseum, 1991) and to their exploration of the issues surrounding art, life and reality in a post-modern, multicultural world.

In trying to describe the differences between the three exhibitions, we find that it is, among other things, very much a question of a gradually changing attitude towards theory. It is now more a question of experience - of having moved from the book to the body. Whenever contemporary art and its world were described in the discussions surrounding Implosion and Trans/Mission, frequent references were made to a number of paradoxical spatial metaphors. Passageworks takes us away from metaphors, "down" to that frequently mentioned sensual experience of neither-nor space, to the folds and dizzying spaces where interior is also exterior. Into the spaces of the new world.

When walking through Passageworks we suddenly realize that Rachel Whiteread's almost cubic plaster construction, erected in the middle of the great turbine hall of the Rooseum, is actually no construction at all, but empty space - the empty space of a room, materialized! Still dazed by the discovery of this embodied interior we may suddenly find ourselves in the folds of one of Dan Graham's large pavilions of semi-transparent mirror glass. Is not the inside like outside somehow? Or how to formulate this paradox relayed by the senses?

In Passageworks we confront an equally beautiful and unstable world of creased, multi-dimensional spaces, turned inside-out. Spaces like those of Rachel Whiteread and Dan Graham or the whirling video-temple of Gary Hill, in which digital impulses create their own, continually changing, universe.

We encounter the little steel cabinets of Lili Dujourie with their flamboyant folds and Geneviève Cadieux' senselessly sensual enlarged photographs of mouths, eyes, skin: the body as membrane and space at the same time, where inside and outside become one.

We encounter Asta Gröting's "digestive systems", greatly magnified - inside once more, or pockets, materialized in exquisite Murano glass..