In the titular work Hreinn Fridfinnsson uses thirteen gilded glass plates to provide a stage for the poetic beauty of the immaterial: the gold projection of the inexorably changing daylight on the wall, the wandering shadows, the course of time that can be read from the layers of dust that inevitably gather on the wall objects. The non-hierarchical arrangement of the gold objects follows a principle of seriality and repetition, but does not create a self-referential structure. Fridfinnsson’s work thus represents an antithesis to Sol Lewitt’s demands of the serial artist as formulated in the text accompanying his work "Serial Project, I (ABCD)" (1966). He is not a “clerk cataloguing the results of his premise” but creates beautiful or mysterious objects. The multilayered engagement with seriality and repetition as a complex aesthetic principle forms the key point of departure that brings together the diverse artistic works in this exhibition. Many of the works activate the potential of significance of minimal alterations and subtle changes of state by repetition and share a proximity to Fridfinnsson’s sensibility for the ephemeral, transformability, and discontinuity that seems to subvert the rational logic of clear and simple serial order.