BERLIN.- The Neue Nationalgalerie in Berlin has unveiled two significant additions to its collection, reinforcing its focus on postwar art and elevating its already diverse exhibition “Stress Test: Art Between Politics and Society. Collection of the Nationalgalerie 1945–2000.” Beginning today, visitors can experience major works by American minimalist Ellsworth Kelly and Italian Arte Povera pioneer Mario Merz, thanks to the generous support of the Lafrenz Collection.

A Monumental Gift: Mario Merz’s “Gambe che corrono”

The museum has received Mario Merz’s large-scale installation “Gambe che corrono” (Legs That Run, 1967/1980) as a permanent gift. The visually arresting work, now on view in the gallery’s “Nature & Culture” section, features a massive canvas with repeated leg motifs in motion, illuminated by glowing blue neon numbers. In front of the painting, bundled willow branches stand as a kind of natural barrier—both concealing and revealing the image behind them.

Merz, one of the founders of Arte Povera, was known for combining industrial materials with organic elements. This piece exemplifies that tension, reflecting themes of movement and resistance, energy and constraint. It joins other Merz works already in the museum’s holdings, including his signature glass and stone igloos and a newspaper installation, further anchoring Arte Povera as a key part of the museum’s narrative.

A Sculptural Painting: Ellsworth Kelly’s Radical Minimalism

Also newly on display is Ellsworth Kelly’s “Untitled, EK 689” (1983), a long-term loan from the Lafrenz Collection. The work appears in the exhibition’s “Performative Image” section and challenges traditional notions of painting. With its sleek, curved shape extending down to the floor, the heavy metal wedge transforms from painting to sculpture, inviting viewers to engage with it physically as much as visually.

The work reflects Kelly’s lifelong interest in form, space, and viewer interaction. By blurring the line between two-dimensional surface and three-dimensional object, it exemplifies a key transition in American minimalism and post-painterly abstraction.

A Dynamic and Evolving Exhibition

With these new additions, the “Stress Test” exhibition continues to evolve. Recent enhancements have already included works by Christo and Jeanne-Claude, Christoph Schlingensief, Maria Lassnig, Ewa Partum, and Cornelia Schleime, expanding the conversation around how art intersects with politics and social change. The museum’s commitment to refreshing its permanent display offers returning visitors new insights and perspectives.

“In times when no state funds are available for acquisitions, we are especially grateful for private support from patrons like the Lafrenz family,” said Joachim Jäger, Deputy Director and Head of Collections at the Neue Nationalgalerie.

Legacy and Vision of the Lafrenz Collection

The late Klaus Lafrenz began building the collection in the early 1970s, focusing on key postwar movements in Europe and the U.S. Today, his son Björn Lafrenz continues that mission, working with museums to ensure the artworks remain accessible to the public.

“We see our role as anchoring major works in prominent institutions for the long term,” said Björn Lafrenz. “We especially enjoy engaging with the history of each piece and how it dialogues with other works in a meaningful architectural space like the Neue Nationalgalerie.”

The exhibition “Stress Test: Art Between Politics and Society. Collection of the Nationalgalerie 1945–2000” is curated by Joachim Jäger, Maike Steinkamp, and Marta Smolińska, and remains a cornerstone of the museum’s programming—challenging visitors to consider the intersections of art, ideology, and public life.