Daniel Richter sperlingskleine WEISE, 2024

Richter’s painting is always painting about painting in the historical discourse of the medium. For Richter, art is never style, but always method, an attitude that serves the discovery of truth. At the same time, his pictures do not represent a method of achieving insight, but rather a possibility for portraying social phenomena. […] The reduction of the pictorial means, the simplification of the style, the rejection of the tried and tested pictorial subjects, the return of the work to an initial abstract primeval state from which a new semiotic system can result—all this is an exhausting, sometimes frustrating process of renewal accompanied by many attempts and failures. […] This process has resulted in works which represent an impressive further development: first groups of paintings which seek a completely new kind of confrontation, which allow coarse, simplified areas of color and significance to collide on the level of form and content—diagram-like color compositions which reveal their physicality and their representative potential only slowly and reluctantly. These are works with a striking but also endangered, sordid aesthetic and a precarious substance
extracted from the abstract.

— Max Hollein, director of The Metropolitan Museum of Art