5,000 litres of mud from inland Saxony and 5,000 litres of water from Kiel harbour were introduced into the contemporary exhibition wing of the Kiel Kunsthalle. Within the first 48 hours of installation the mud went from black to orange, a result of the anaerobic ferrous oxide coming into contact with salt water, and the activation of methane-producing bacterial and biological processes. This infection of the museum with the elemental conditions of the 'outside' made raw material the object of contemplation; an experience which was not only visual, but olfactory and sensate - affected by the increased humidity in the space, the smell of methane and salt in the air, and the acoustic effect of the presence of water.
The piece occupied three rooms totalling approximately 3,000 square feet, which could be viewed from a passage, from the entrance hall and from a balcony on the first floor. The three thresholds in the corridor even allowed a single viewer to step up onto the threshold and contemplate this living pigment, where the viewer himself becomes the interface between nature and culture. In this installation, the relationship with FIELD was very important. FIELD occupied the historic wing of the museum, with all its collection of German genre and romantic landscape painting left in place.