This is the most beautiful example of how Kricke succeeds in dynamizing not only space, but also our ways of seeing. His spatial sculptures do not place signs in space; instead, they leave traces behind that our eyes then follow. And it is precisely this ocular movement that simultaneously establishes a temporal experience. It is only in the pursuing gaze that follows the metal’s trail through space that one can appreciate its full dimension. And this necessity of a concurrent experience of space and time, first lived by the artist and then the viewer, substantiates the singular greatness of Kricke’s art.