Skillfully and wilfully dodging categorization, the German artist Günther Förg was an ideological agitator who made it his life-long mission to upend the traditions of modernism. Everything was up for grabs. Architecture and space, with their innate characteristics of restraint, were often the genesis of his oeuvre. To that end, windows, doors, and walls became the crossbars with which the artist explored color, form and spatial relationships. Moving effortless across a multitude of mediums and working with a variety of materials, Förg set out to systematically distil each category to its particular idiosyncrasies and then unite them in matrimony or ruthlessly play them out against each other. Large-scale photography of well-known architecture, particularly the minimalism of early Bauhaus structures, morphed organically into monochrome wall paintings and architectural structures. In the mid-1990s explorations into the non-color grey lead to a series of elegant blackboard paintings that seem to mourn his spiritual firebrand Joseph Beuys with a respectful nod to Cy Twombly. Another sharp U-turn towards the end of his life, produced his highly popular, large-scale paintings of colourful brushwork patches. That these should be the legacy of a brilliant and diverse art career seems hardly fair – a concern that the new custodian of his estate should attempt to correct. At Hauser & Wirth through April 6.