The people confronting the viewer in Daniel Richter’s ‘Horde’ are larger than life. The fragmentary representation of their bodies and faces only makes their presence stronger. In this ambivalence lies the quality of the work. It is as if the outer layer of the figures has been removed, revealing their inner life, hatred and aggression. The actual identity of the horde is unimportant. What is essential is the hostile manner in which its members confront the viewer. What gives the work its political dimension is the way in which it opens up to the exhibition space.