Maria Eichhorn’s artistic practice defies facile categorization. With strong roots in the legacies of Fluxus and the Conceptual art tradition, Eichhorn’s work has spanned a variety of genres and media: from wall texts to artist books, staged events to probing interviews, broad-ranging symposia to public billboards, and film and video. The latter are the focus of the VOX exhibition, which includes Eichhorn’s 16mm Film Lexicon of Sexual Practices (1999-2005), the video Shares in the Kunsthalle Bern (2005), as well as the video documentation The Social-Historical Background to the Artist’s Contract from her project The Artist’s Reserved Rights Transfer and Sale Agreement by Robert Projansky and Seth Siegelaub (1998), and references to Billboard Istanbul Biennial 1995 (2005). Eichhorn pushes the limits of what conventionally constitutes an artist’s role—she often steers institutional forces in an attempt to subvert their logic. If the public was the central player in earlier projects, since her 1997 contribution to the public sphere exhibition Sculpture. Projects in Münster (Purchase of the Plot at Corner Tibusstrasse/ Breul, Province Münster, Hall 5, No. 672 ). Documentation of this project will be included in the exhibition and brochure of Contrapolis. Eichhorn increasingly mobilizes legal documents, contracts, and economic laws that determine the flow of capital. Thus, in the much-noted and award-winning project Maria Eichhorn Public Limited Company, exhibited at the Documenta 11 in 2002, the artist used the production funds she was allotted to incorporate a new company complete with shares.