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Electrical outlets and carpet stains are suddenly infused with an odd significance, for in this world without people (or, per the exhibition title, in this “architecture of absence”), objects and incident become active participants in some sort of strange, unscripted drama, communing with one another and the architectural containers they fill. If we are of this world—for we all use train stations and go to museums, after all, perhaps the very same ones we see in these images—Höfer makes us feel that we are nevertheless alien to it, that we’re trespassing on a secret life of spaces and things.
— Graham Bader on Candida Höfer
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