A monumental example of his celebrated Gitterbilder (‘Grid Paintings’), ‘Untitled’ (2005) is one of the largest paintings Günther Förg ever made. It may be understood as a sort of grand conclusion to his most iconic series, which showcases Förg’s distinct approach to abstraction. While Förg’s tendency to cleverly subvert the tenants of modernism persists throughout his oeuvre, his Grid Paintings uniquely capture his deep art historical knowledge. Fuelled by his thorough study of several artists he admired, including Clyfford Still, Barnett Newman and Cy Twombly, Förg began to deploy and abstract their techniques. However, it was the work of Edvard Munch, specifically the unusual crosshatching in the fore- and background of his renowned ‘Death of Marat’ (1907), which was particularly instrumental to the development of the Grid Paintings. Yet rather than copying another artist’s gesture, Förg explores a specific element of Munch’s work, abstracting it and pushing it to its limits.