As part of the exhibition display, Krishnamurthy installed a large poster column that protrudes from the gallery&#x27;s storefront facade. &quot;Klaus Wittkugel believed in the street as a primary context for graphic design: a large portion of his work consisted of posters, meant to catch your eye while walking. As P! is in Chinatown and has a very public presence, I decided to extend this gesture and make it a key feature of the exhibition,&quot; he says. &quot;In Berlin, you still see a lot of Littfasssäulen, a distinctive and typical kind of poster column. Together with Cay Sophie Rabinowitz, curator of the parallel exhibition on Anton Stankowski at OSMOS, I conceived an installation that would display reproductions of work by the two Cold War designers together. There is also a second poster column at OSMOS, which is the &#x27;umbilical cord&#x27; between these two otherwise independent exhibitions. The installation echoes Wittkugel&#x27;s own approach to his retrospective exhibition in 1961, when he covered the poster columns in the city with a selection of his past work, along with the posters announcing the show. Artist Maayan Strauss had the brilliant idea of making the poster column &#x27;break out; of the gallery, so that it seems to literally cross over a border. Wittkugel&#x27;s first job was as a window-dresser, so it&#x27;s an appropriate homage to have this kind of attention paid to the storefront window.&quot;  Photo 6 of 6 in A Look at Klaus Wittkugel, East Germany&#x27;s Most Prolific Graphic Designer