In this respect, Horst Müller’s works from the last few years contain less and less that requires to be ›interpreted‹ from them. They are directed not at the recognition of an idea but rather at the perception of a whole, whereby the material criteria are not intended as ›templates‹, but as solid pillars that enable us to safely enter the charged interstices. This also explains why they cannot be described as ›objects‹ – self-contained, more or less complex bodies that are intended to convey meanings. And in any case, how could these works be objects, given that they occupy much larger realms than the spaces in which they are installed could ever be! (Das Labyrinth aus dem Chaos der Geometrie Bremen 1991).

This is followed in 1992 by two solo exhibitions: one at KX, part of the Kampnagel cultural centre in Hamburg; the other, entitled Zerotonie, at the Kunstverein Bremerhaven.

1993 - 1997 Müller exhibits Drei Real-Spiegelungen at the Kunstraum Neue Kunst in Hanover. His exhibition in autumn 1994 at Galerie im Winter in Bremen focuses on fracture reflections and also uses the fragile term Doppelfraktur as the show’s title. At the end of the year he travels to Egypt with a friend and is introduced to the art of ancient Egypt at the Egyptian Museum in Cairo. The combined formal potency of the exhibits appears to exceed the boundaries of the museum: this phenomenon fills the artist with euphoria and fundamentally alters his perspective. He travels to Luxor and spends a month visiting temples and burial sites. Completely captivated by what sees there, he immediately notes down his impressions, then reworks these notes upon his return and compiles them into a book. Der verstellte Raum is published by Verlag Bettina Wassmann in Bremen in the spring of the following year.
In 1995 the rest of his family relocates to the British Virgin Islands for a year, and he visits them there in spring 1996.
In 1997 he contributes two works to the exhibition Zeitsprünge at the Literaturhaus Hamburg and organizes the group show Aktualna sztuka y Bremy at the Academy of Fine Arts in Gdansk, together with Wolfgang Michael.

1998 In the attempt to take a shortcut, he jumps off a high wall and breaks his right foot. During the following months when he is forced to rest under doctor’s orders, he reflects upon paradoxical duplication schemes and expresses his doubts on the subject in the text Die Geissel, which is published in the autumn to accompany the exhibition Achim Bertenburg / Horst Müller at the Gesellschaft für Aktuelle Kunst in Bremen.

Two Books Photography 1990