Louise Nevelson, one of the most important sculptors of the 20th century, became famous for her enigmatic and fascinating relief sculptures, which she created from found objects, wood scraps and pieces of furniture, most of which she had found and collected in her adopted city, New York. The usually black, sometimes white or golden sculptures seem to come from another culture and are formally reminiscent of Mayan or Aztec artifacts. And yet, they are a direct expression of the artist's appropriation and reinterpretation of our contemporary culture. In her untitled stele, Nevelson varies the concept of her reliefs by creating the impression of an inexplicable device, which is further enhanced by the antenna-like rods on top, or an abstract figure. Nevertheless, the forms of the sculpture remain indissoluble, their legibility replaced by the suspicion of meaning, just as the viewer unfamiliar with a language or foreign characters feels when confronted with such recordings. Various associations can be made, but they cannot be connected concretely to anything known. At the same time, Nevelson transforms her everyday finds into a new, closed whole through the composition and the alienation of the black-coloured version.