The oeuvre of Aldo Walker (1938–2000) includes two central bodies of work: Logotyps (experimental objects) and Pictograms (paintings made with simple, bold outlines). With approximately thirty works in four rooms, the exhibition offered a broad overview of the work of this conceptual artist who, in 1986, represented Switzerland at the Venice Biennale along with John M Armleder. Walker’s Logotyps are alternately mysterious and absurd, combining the uncombinable. Most of all, they are stations for the imagination. All metaphors are pointless, yet the viewer cannot help but seek them. Likewise, Walker’s outline paintings, begun in 1981, demonstrate the perceptual process by which the imagination completes our observations. Bodies become unidentifiable meat, a baby, or a monster, or a simple sign on a monochrome background.