Martin Kippenberger (1953-1997) was a German artist and sculptor known for his fruitful output in a wide range of medias. New York Times' Roberta Smith wrote about him: He is widely regarded as one of the most talented German artists of his generation. In 2014 the auction business called for his masterpieces prices of nearly or more than $20 million. 2008 Pope Benedict condemned his work First the Feet depicting a toad being crucified, which was shown during an exhibtion at the Musein in Bolzano. Now the book BODY CHECK is again published in the occasion of a double-exhibition 2018 together with the work of Maria Lassnig at the Museion in Bolzano; the show is running from 21st March until 15th September 2019. During his life-time Martin Kippenberger had a vast number of exhbitions in galleries, but not so at governmental institutions; the exceptions had been: Hessisches Landesmuseum 1984 and 1986, Museum Boijmans Van Beuningen Rotterdam 1994. After his death there had been a lot of exhibitions, amongst others: 2003 ZKM Karlsruhe, 2006 Tate Modern London, 2009 MoMA New York, 2010 Kunsthalle Hamburg, 2011 Museo Picasso Malaga, 2013 Hamburger Bahnhof Berlin, 2015 Haus der Kunst Munich.Maria Lassnig (1919-2014) was an Austria painter and Media artist. She grew up in Carynthia and studied from 1940 until 1945 at the art academy in Vienna. With a scholarship she moved 1951 to Paris and finished with a degree in 1954 under Albert Paris Gutersloh. With fellow students she was in circle of Otto Mauer, the founder of the Galerie nachst St Stephan. She had contact to the Wiener Gruppe of poets and together with Arnulf Rainer she is regarded as a founder of Informel painting in Austria. From 1961 to 1968 she lived in Paris and refreshed her contacts to the Surrealists she met in the decade before. 1968 she moved again, now to the East village in New York, where she lived with intermissions until 1980. For a professorship she left the USA and get back to Vienna in 1980. In the meantime her stylistic approach had changed from the early Informel to a body oriented painting for which her position was long time standing alone in the European art world, but which was nevertheless treated as a typical concession to Austrian art. Nowadays, a generation of female, theory-inspired art historians see more clearly not only a feminist attitude but more her modern standpoint to the human. Her work is more than ever to see in the last years: 2009 Museum Ludwig Cologne, 2009 MUMOK Vienna, 2010 Lenbauchhaus Munich, 2012 Neue Galerie Graz, 2013 Deichtorhallen Hamburg, 2014 MoMA PS1 New York, 2017 Museum Folkwang Essen, and 2018 Kunstmuseum Basel.